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    Schiele
    Schiele
    Schiele
    Ebook127 pages21 minutes

    Schiele

    By Stéphanie Angoh

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    About this ebook

    Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
    LanguageEnglish
    PublisherParkstone International
    Release dateMar 15, 2013
    ISBN9781781606032
    Schiele

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      Book preview

      Schiele - Stéphanie Angoh

      Author: Stéphanie Angoh

      Cover: Stéphanie Angoh

      ISBN 978-1-78160-603-2

      © Confidential Concepts, worldwide, USA

      © Parkstone Press International, New York, USA

      All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.

      Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

      Stéphanie Angoh

      Egon

      Schiele

      TABLE OF CONTENT

      Schiele’s Childhood

      The Favorite Sister, Gerti

      Vienna at the Turn of the Century

      Gustav Klimt, the Father

      Schiele’s Models

      Expressive Art Process

      Encounter with the Mirrored Image

      First Exhibitions

      New Artists

      Vienna Art Scene

      Schiele’s Close Circle of Friends

      Wally, the First Life’s Companion

      Self-Portrait as Nude Study

      Schiele, the Man of Pain

      Fascination with Death

      Phantom-Like Creatures

      Body Perspectives

      Vampire-Like Trait of the Sex

      Disgust and Allure

      The Age of the Pornographic Industry

      Schiele’s Arrest

      International Artist

      Schiele’s Skillful Social Maneuver

      The Bourgeois Schiele

      Schiele, a Celebrated Artist

      Biography

      LIST OF ILLUSTRATIONS

      1. The Scornful Woman (Gertrude Schiele), 1910.

      Gouache, watercolor and black crayon with

      white highlighting, 45 x 31.4 cm. Private collection

      In 1964, Oskar Kokoschka evaluated the first great Schiele Exhibition in London as pornographic. In the age of discovery of modern art and loss of subject, Schiele responded that for him there exists no modernity, only the eternal. Schiele's world shrank into portraits of the body, locally and temporally non-committal. Self-discovery becomes an unrelenting revelation of himself as well as of his models. The German art encyclopedia, Thieme and Becker, qualifies Schiele as an eroticist because Schiele"s art represents the erotic portrayal of the human body. In this case, however, it is for him not only a study of feminine, but also male nudity. His models characterize an incredible freedom with respect to their own sexuality, self-love, homosexuality or voyeuristic attitudes, as well as skillful seduction of the viewer.

      Clichés and criteria with regard to feminine beauty, perfect smoothness and sculpture-like coolness, however, do not interest him. He knows that the urge to look is interconnected with the mechanisms of disgust and allure. It is the body which contains the power of sex and death within itself. The photograph, Schiele on his Deathbed (p.8), depicts the twenty-eight year old nearly asleep, the gaunt body completely emaciated, head resting on his bent arm; the similarity to his drawings is astounding.

      Because of the high danger of infection, the last visitors were able to communicate with the Spanish flu-infected Schiele only by way of a mirror, in which he viewed himself and his models, which was set up on the threshold between his room and the parlor.

      During

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