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+ "page_name": "Five things to know: Egon Schiele | Tate",
+ "page_url": "https://www.tate.org.uk/whats-on/tate-liverpool/life-motion-egon-schiele-francesca-woodman/five-things-know-egon",
+ "page_snippet": "As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits ...As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits and techniques, for example they drew elongated bodies, used expressive lines and injected bright colour into sketches. Hitler rejected artwork which he believed insulted the classical ideals of human beauty. Egon Schiele\u2019s drawings fell into this category and was judged as degenerate art. Some of the degenerate art was sold at auction in Switzerland in 1939 and more was disposed of through private dealers. Egon Schiele, Standing male figure (self-portrait) 1914. Photograph \u00a9 National Gallery in Prague 2017 \u00b7 As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. Schiele painted The Hermits (Self-Portrait with Gustav Klimt) in 1912 as homage to their friendship. When Klimt died in February 1918, a devastated Schiele painted Klimt on his deathbed. Egon Schiele, Squatting Girl 1917 \u00a9 Staatliche Graphische Sammlung M\u00fcnchen",
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Egon Schiele, Standing male figure (self-portrait) 1914. Photograph \u00a9 National Gallery in Prague 2017
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1. HE WAS GUSTAV KLIMT\u2019S PROT\u00c9G\u00c9
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As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits and techniques, for example they drew elongated bodies, used expressive lines and injected bright colour into sketches. Klimt\u2019s influence is noticeable in Schiele\u2019s works produced between 1907 and 1909. Schiele painted The Hermits (Self-Portrait with Gustav Klimt) in 1912 as homage to their friendship. When Klimt died in February 1918, a devastated Schiele painted Klimt on his deathbed.
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2. HE COULDN\u2019T TAKE HIS EYES OFF HIS SUBJECTS (LITERALLY)
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Egon Schiele, Squatting Girl 1917 \u00a9 Staatliche Graphische Sammlung M\u00fcnchen
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According to art historian Albert Elsen, Schiele used Auguste Rodin\u2019s continuous drawing technique to create his loose, fluid figurative sketches. It required constant eye contact with the life model, making Schiele\u2019s process of drawing an intimate experience between him and his subject. His models often included people he knew, for example his wife, sister and lovers, but also occasionally featured young prostitutes from the streets of Vienna.
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3. HE SPENT TIME IN PRISON
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Schiele\u2019s intense portraits frequently featured nude figures, which were unapologetic, contorted and emotionally-charged. The police confiscated hundreds of his works due to their sexually explicit nature. In 1912, Schiele was arrested for allegedly seducing and kidnapping a minor. His charges were downgraded to public immorality for distributing obscene drawings, which saw the artist spend 24 days in custody.
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4. HIS ART WAS GIVEN AN UNWANTED LABEL
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Egon Schiele, Self Portrait in Crouching Position 1913. Photo: Moderna Museet / Stockholm
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When Adolf Hitler came to power in 1933, he ordered the National Socialist (Nazi) authorities to seize any European artwork that he didn't approve of. Hitler rejected artwork which he believed insulted the classical ideals of human beauty. Egon Schiele\u2019s drawings fell into this category and was judged as degenerate art. Some of the degenerate art was sold at auction in Switzerland in 1939 and more was disposed of through private dealers. About 5,000 items of degenerate art were secretly burned in Berlin later that year. Today, more and more countries are signing declarations and laws which commit to returning lost or stolen artworks to their rightful owners.
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5. HE DREW RIGHT UP UNTIL HIS DEATH
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Image: Egon Schiele, Self Portrait 1914. Image courtesy: Hadiye Cang\u00f6k\u00e7e
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Schiele died on 31 October 1918 after contracting Spanish flu, just 3 days after his pregnant wife Edith died of the same fate. The last drawing of Edith, titled Edith Schieleon Her Deathbed, captures her exhaustion and suffering.
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+ "page_name": "Five things to know: Egon Schiele | Tate",
+ "page_url": "https://www.tate.org.uk/whats-on/tate-liverpool/life-motion-egon-schiele-francesca-woodman/five-things-know-egon",
+ "page_snippet": "As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits ...As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits and techniques, for example they drew elongated bodies, used expressive lines and injected bright colour into sketches. Hitler rejected artwork which he believed insulted the classical ideals of human beauty. Egon Schiele\u2019s drawings fell into this category and was judged as degenerate art. Some of the degenerate art was sold at auction in Switzerland in 1939 and more was disposed of through private dealers. Egon Schiele, Standing male figure (self-portrait) 1914. Photograph \u00a9 National Gallery in Prague 2017 \u00b7 As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. Schiele painted The Hermits (Self-Portrait with Gustav Klimt) in 1912 as homage to their friendship. When Klimt died in February 1918, a devastated Schiele painted Klimt on his deathbed. Egon Schiele, Squatting Girl 1917 \u00a9 Staatliche Graphische Sammlung M\u00fcnchen",
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Egon Schiele, Standing male figure (self-portrait) 1914. Photograph \u00a9 National Gallery in Prague 2017
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1. HE WAS GUSTAV KLIMT\u2019S PROT\u00c9G\u00c9
\n
\n
As a teenager, Egon Schiele idolised Gustav Klimt. Klimt was the founder and leader of the Viennese Secession and had a wealth of experience in painting, sketching and murals. In 1907, Klimt became Schiele\u2019s mentor and the two developed a close friendship. Both artists shared artistic traits and techniques, for example they drew elongated bodies, used expressive lines and injected bright colour into sketches. Klimt\u2019s influence is noticeable in Schiele\u2019s works produced between 1907 and 1909. Schiele painted The Hermits (Self-Portrait with Gustav Klimt) in 1912 as homage to their friendship. When Klimt died in February 1918, a devastated Schiele painted Klimt on his deathbed.
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2. HE COULDN\u2019T TAKE HIS EYES OFF HIS SUBJECTS (LITERALLY)
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Egon Schiele, Squatting Girl 1917 \u00a9 Staatliche Graphische Sammlung M\u00fcnchen
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According to art historian Albert Elsen, Schiele used Auguste Rodin\u2019s continuous drawing technique to create his loose, fluid figurative sketches. It required constant eye contact with the life model, making Schiele\u2019s process of drawing an intimate experience between him and his subject. His models often included people he knew, for example his wife, sister and lovers, but also occasionally featured young prostitutes from the streets of Vienna.
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3. HE SPENT TIME IN PRISON
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Schiele\u2019s intense portraits frequently featured nude figures, which were unapologetic, contorted and emotionally-charged. The police confiscated hundreds of his works due to their sexually explicit nature. In 1912, Schiele was arrested for allegedly seducing and kidnapping a minor. His charges were downgraded to public immorality for distributing obscene drawings, which saw the artist spend 24 days in custody.
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4. HIS ART WAS GIVEN AN UNWANTED LABEL
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Egon Schiele, Self Portrait in Crouching Position 1913. Photo: Moderna Museet / Stockholm
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When Adolf Hitler came to power in 1933, he ordered the National Socialist (Nazi) authorities to seize any European artwork that he didn't approve of. Hitler rejected artwork which he believed insulted the classical ideals of human beauty. Egon Schiele\u2019s drawings fell into this category and was judged as degenerate art. Some of the degenerate art was sold at auction in Switzerland in 1939 and more was disposed of through private dealers. About 5,000 items of degenerate art were secretly burned in Berlin later that year. Today, more and more countries are signing declarations and laws which commit to returning lost or stolen artworks to their rightful owners.
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5. HE DREW RIGHT UP UNTIL HIS DEATH
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Image: Egon Schiele, Self Portrait 1914. Image courtesy: Hadiye Cang\u00f6k\u00e7e
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Schiele died on 31 October 1918 after contracting Spanish flu, just 3 days after his pregnant wife Edith died of the same fate. The last drawing of Edith, titled Edith Schieleon Her Deathbed, captures her exhaustion and suffering.
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+ "page_last_modified": ""
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+ "page_name": "Egon Schiele | Expressionist, Portraits, Nudes | Britannica",
+ "page_url": "https://www.britannica.com/biography/Egon-Schiele",
+ "page_snippet": "Egon Schiele Austrian Expressionist painter, draftsman, and printmaker noted for the eroticism of his figurative works. As a student at the Vienna Academy of Fine Arts (1907\u201309), Schiele was strongly influenced by the Jugendstil movement, the German Art Nouveau. He met Gustav Klimt, leader of theEgon Schiele - Student Encyclopedia (Ages 11 and up) ... While every effort has been made to follow citation style rules, there may be some discrepancies. Please refer to the appropriate style manual or other sources if you have any questions. ... Our editors will review what you\u2019ve submitted and determine whether to revise the article. ... Articles from Britannica Encyclopedias for elementary and high school students. Egon Schiele - Student Encyclopedia (Ages 11 and up) Feb. 6, 2024, 12:15 AM ET (Yahoo News) Austria rebuts heirs' Nazi loot claims for Schiele paintings \u00b7 Egon Schiele (born June 12, 1890, Tulln, near Vienna\u2014died Oct. 31, 1918, Vienna) Austrian Expressionist painter, draftsman, and printmaker noted for the eroticism of his figurative works. He met Gustav Klimt, leader of the Vienna Sezession group, and the linearity and subtlety of Schiele\u2019s work owe much to Klimt\u2019s decorative elegance. Schiele, however, emphasized expression over decoration, heightening the emotive power of line with a feverish tension. He concentrated from the beginning on the human figure, and his candid, agitated treatment of erotic themes caused a sensation.",
+ "page_result": "\n\n\n\n\n\n \n \n \n\n \n\n\t\n\t\n\n \n\n \n\n \n\t\t\n\n \n Egon Schiele | Expressionist, Portraits, Nudes | Britannica\n\t\t\n\n\n\n\t\n\t\n\t\n\t\n\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\n\t\n\n\n\n\n\n \n\t\n\n \n\n \n\n\t\t \n\t\t\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n\t\t\tWhile every effort has been made to follow citation style rules, there may be some discrepancies.\n\t\t\tPlease refer to the appropriate style manual or other sources if you have any questions.\n\t\t
\n\t\t\tWhile every effort has been made to follow citation style rules, there may be some discrepancies.\n\t\t\tPlease refer to the appropriate style manual or other sources if you have any questions.\n\t\t
Egon Schiele (born June 12, 1890, Tulln, near Vienna\u2014died Oct. 31, 1918, Vienna) Austrian Expressionist painter, draftsman, and printmaker noted for the eroticism of his figurative works.
As a student at the Vienna Academy of Fine Arts (1907\u201309), Schiele was strongly influenced by the Jugendstil movement, the German Art Nouveau. He met Gustav Klimt, leader of the Vienna Sezession group, and the linearity and subtlety of Schiele\u2019s work owe much to Klimt\u2019s decorative elegance. Schiele, however, emphasized expression over decoration, heightening the emotive power of line with a feverish tension. He concentrated from the beginning on the human figure, and his candid, agitated treatment of erotic themes caused a sensation.
In 1909 he helped found the Neukunstgruppe (New Art Group) in Vienna. From 1911 onward he exhibited throughout Europe, and a special room was devoted to his work at a 1918 Sezessionist exhibit in Vienna, shortly before his death from Spanish influenza. Important works include \u201cThe Self Seer\u201d (1911), \u201cThe Cardinal and Nun\u201d (1912), and \u201cEmbrace\u201d (1917). His landscapes exhibit the same febrile quality of colour and line.
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+ "page_name": "Egon Schiele: Stylistic Development \u2013 Kallir Research Institute",
+ "page_url": "https://kallirresearch.org/egon-schiele-stylistic-development/",
+ "page_snippet": "Egon Schiele entered the Vienna Academy of Fine Art at the age of sixteen, executed his first mature paintings at the age of twenty, and died of influenza eight years later. The rich body of work he left behind probes the very depths of human existence\u2014the personal search for identity and ...Egon Schiele entered the Vienna Academy of Fine Art at the age of sixteen, executed his first mature paintings at the age of twenty, and died of influenza eight years later. The rich body of work he left behind probes the very depths of human existence\u2014the personal search for identity and the universal search for meaning. The in-progress digital catalogue raisonn\u00e9 Egon Schiele Online has recently added sections detailing the year-by-year evolution of the artist\u2019s painting and signature styles. We hope you\u2019ll explore these pages more fully, and here offer an overview of Schiele\u2019s treatment of certain subjects to which he returned, again and again: Owing to his rapid development, Schiele accomplished in only twenty-eight years what many artists require decades to achieve. The in-progress digital catalogue raisonn\u00e9 Egon Schiele Online has recently added sections detailing the year-by-year evolution of the artist\u2019s painting and signature styles. In 1908-09, Schiele came under the influence of Gustav Klimt, who had been featured in the 1908 \u201cKunstschau.\u201d Billing himself as the \u201cSilver Klimt,\u201d the younger artist executed a series of portraits that mimicked the master\u2019s use of metallic leaf and triangular, off-center poses. Schiele made his Vienna debut with three of these (P149-P151) at the 1909 \u201cKunstschau.\u201d",
+ "page_result": "\n\n\n\n\t\n\n\t\t\n\t\t\n\n\t\t\n\n\t\tEgon Schiele: Stylistic Development – Kallir Research Institute\n\n\n \n \n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\t\n\t\t\n\t\t\n\n\t\n\t\n\t\n\t\n\n\n\n\t\t\n\t\t\t\n\t\n\t\n\t\n\t\n\n\t\n\n\t\tSkip to the content\n\t\t\n\n\t\t\t
Egon Schiele entered the Vienna Academy of Fine Art at the age of sixteen, executed his first mature paintings at the age of twenty, and died of influenza eight years later. The rich body of work he left behind probes the very depths of human existence\u2014the personal search for identity and the universal search for meaning. Owing to his rapid development, Schiele accomplished in only twenty-eight years what many artists require decades to achieve.
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The in-progress digital catalogue raisonn\u00e9 Egon Schiele Online has recently added sections detailing the year-by-year evolution of the artist\u2019s painting and signature styles. We hope you\u2019ll explore these pages more fully, and here offer an overview of Schiele\u2019s treatment of certain subjects to which he returned, again and again:
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Early Portraits
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From a young age, Schiele regarded the human face as key to personal identity. Not surprisingly, his early portraits focused on family members, who were readily available to model. Early subjects include his mother and siblings.
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\nPortrait of the Artist’s Mother. 1907. (P11)\n\n\n\n\n\n\n\n
In 1908-09, Schiele came under the influence of Gustav Klimt, who had been featured in the 1908 \u201cKunstschau.\u201d Billing himself as the \u201cSilver Klimt,\u201d the younger artist executed a series of portraits that mimicked the master\u2019s use of metallic leaf and triangular, off-center poses. Schiele made his Vienna debut with three of these (P149-P151) at the 1909 \u201cKunstschau.\u201d
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\nHead of a Bearded Man I (Leopold Czihaczek). 1907. (P21)\n\n\n\nGustav Klimt: Fritza Riedler. 1906. Belvedere, Vienna.\n
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Schiele\u2019s single most common portrait subject (excepting himself) was his uncle, Leopold Czihaczek (P2a, P3, P15-P22a, P101). Given that the two had a volatile relationship, these many paintings may have been unsuccessful attempts at reconciliation on the part of the artist.
\n\n\n\nPortrait of the Painter Anton Peschka. 1909. (P150)\n
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The Expressionist “Breakthrough”
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\nSeated Male Nude (Self-Portrait). 1910. (P172)\n
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\nNude Girl with Folded Arms (Gertrude Schiele). 1910. (D516)\n
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In his 1910 portraits, Schiele similarly isolated the figure on a blank ground (P160-P167). Here his palette was somber, further distancing the artist from his mentor, Klimt. However, Schiele retained a residual Jugendstil awareness of negative space, which would remain an enduring hallmark of his work both on canvas and on paper. Aesthetically and technically, his paintings during this period were more like large watercolors than conventional oils: drawing played an important structural role in defining principal contours, and the figures were filled in with thin washes. The incorporation of plaster or \u201cchalk\u201d in his grounds created an unusually porous surface.
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In 1910, Schiele emerged from under Klimt\u2019s shadow with his own distinctive Expressionist style. This breakthrough was heralded early in the year by a series of life-sized nudes (P168-P172). Unfortunately, only one of these five canvases survives, but we can get a sense of the series from the many related watercolors. Instead of crowding the backgrounds with Klimtian ornament, Schiele thrust his figures into an existential void. Contorted body gestures and bright, garish colors heighten the sense of anxiety and isolation.
\nThe Self-Seers II (Death and Man). 1911. (P193)\n\n\n\n\n
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In his allegorical self-portraits, Schiele was often accompanied by a second figure, appearing variously as an eerie doppelg\u00e4nger, a puppet-master, a bestower of enlightenment or Death (P174, P190-P194). In one of his most famous paintings, The Hermits of 1912 (P229), Schiele appears alongside a spiritual mentor who may or may not be Gustav Klimt.
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After his imprisonment in April 1912, Schiele\u2019s allegorical ambitions became even grander. As though to teach the world a lesson and affirm the sanctity of his artistic mission, he began planning a pair of large allegorical murals, Encounter (P259) and Conversion (PXLIII). In both, the artist himself was to serve as the spirit guide, followed by a cadre of \u201cblind\u201d acolytes. Unfortunately, Schiele proved incapable of mastering either composition; he ended up abandoning both canvases.
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Schiele is known for his numerous self-portraits. Whereas in his watercolors he experimented with a variety of emotions and personas, the self-portrait oils were usually affirmations of his artistic identity. In 1910, he began work on a group of allegorical self-portraits that may collectively be referred to as the \u201cself-seers\u201d series (P174, P175, P190-P194). Schiele liked to play with the double meanings of \u201csight\u201d and \u201cvision,\u201d referring both to his literal ability to see and to spiritual insight. As an artist, he felt it was his duty to hone each of these faculties, so that he could deliver messages from beyond the visible world.
\u201cBlindness\u201d was a metaphor Schiele used to castigate those unable to \u201csee\u201d the deeper truths underlying mortal existence. However, in a startling double-self portrait of 1915, Transfiguration (P288), it is Schiele himself who appears to have been blinded. This painting is in some ways a mate to Death and Maiden (P289), in which a saucer-eyed Schiele plays the role of Death, with his-soon-to-be-ex girlfriend, Wally Neuzil, as the Maiden. Executed on the eve of the artist\u2019s marriage, both paintings demonstrate a newfound sense of vulnerability.
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Landscapes
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Nearly half of Schiele\u2019s oil paintings were produced prior to 1909, and the majority of those works were landscapes (P4-P7, P34-P95). Mainly small works on cardboard, these paintings provide little indication of his future development.
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Schiele\u2019s approach to landscape took a distinctive turn following a trip, in October 1910, to Krumau (today \u010cesk\u00fd Krumlov in the Czech Republic). Schiele called Krumau the \u201cdead city,\u201d because the town\u2019s ancient walls evoked the persistence of human creation in the face of mortality. Schiele\u2019s first painting of the \u201cdead city\u201d was a gouache on paper, but at the suggestion of his patron, Arthur Roessler, he began executing similar works on small boards (Bretter).
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All Schiele\u2019s landscapes were fraught with existential meaning. Trees were analogous to human bodies, struggling to survive in a hostile environment (P217, P218, P222, P236-P242, P263-P265).
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\n\n\n\n\nKrumau at Night (Dead City III). 1911. (P209)\n\n\n\n\n\n\n\nA Tree in Late Autumn. 1911. (P222)\n
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\nHouses and Roofs of Krumau, Seen from the Schlossberg. 1911. (P211)\n\n\n\nAutumn Sun I (Sunrise). 1912. (P236)\n
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In his later landscapes, Schiele toggled between two seemingly opposite approaches: the close-up and the panorama. Zooming in on a subject (P284, P294, P301, P311, P332) allowed variations in surface detail to dictate the compositional terms. In contrast to these relatively flat vignettes, Schiele\u2019s townscapes acquired greater depth, a quality he accentuated by setting his buildings in diminishing arcs against a distant horizon (P293, P298, P312-P314, P331). The artist\u2019s mastery is demonstrated both by the scale of these canvases and by the deftly manipulated paint layers.
\nEdge of Town (Krumau Town Crescent III).1918. (P331)\n
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Later Portraits & Allegories
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\nPortrait of the Artist’s Wife, Seated. 1918. (P316)\n
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For a period after 1910, Schiele\u2019s production of portraits dropped sharply. The falloff in commissions may have been caused by the artist\u2019s withdrawal from the Vienna art scene, or by the fact that his Expressionistic canvases were often rejected by the sitters. Following his marriage to Edith Harms and his conscription into the army in 1915, however, Schiele developed a more humanistic approach. First evidenced in paintings of his wife (P290, P316) and father-in-law (P300), his later portrait style won him a spate of commissions when he returned to Vienna in early 1917 (P307, P309, P317, P319, P320, P321).
\n
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\nPortrait of an Old Man (Johann Harms). 1916 (P300)\n
Schiele\u2019s return to Vienna sparked a renewed desire to create monumental allegories. Instead of attempting to tackle his subject in a single composition, however, he now proposed a series of canvases depicting aspects of \u201cearthly existence.\u201d It is believed that most of his 1917-18 nudes were intended for this series (P304-306, P326-329). Though the artist depicted himself in some of the nudes, he appears as a generic \u201ceveryman,\u201d just as the female nudes in these paintings are generic \u201ceverywomen.\u201d
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Because Schiele left a number of unfinished canvases at his death in October 1918, and because some of these were subsequently completed by another hand, it is difficult to assess the ultimate stages of the artist\u2019s development. A late portrait of his friend, the artist Paris von G\u00fctersloh (P322), hints at what may have been to come: a brighter palette, and a bolder, more confident layering of Expressionistic brushstrokes.
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\nPortrait of the Painter Paris von G\u00fctersloh. 1918. (P322)\n
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+ "page_name": "Egon Schiele - Wikipedia",
+ "page_url": "https://en.wikipedia.org/wiki/Egon_Schiele",
+ "page_snippet": "Egon Leo Adolf Ludwig Schiele (German: [\u02c8e\u02d0\u0261\u0254n \u02c8\u0283i\u02d0l\u0259] \u24d8; 12 June 1890 \u2013 31 October 1918) was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits.His father, Adolf Schiele, the station master of the Tulln station in the Austrian State Railways, was born in 1851 in Vienna to Karl Ludwig Schiele, a German from Ballenstedt and Aloisia Schimak; Egon Schiele's mother Marie, n\u00e9e Soukup, was born in 1861 in \u010cesk\u00fd Krumlov (Krumau) to Franz Soukup, a Czech father from Mirkovice, and Aloisia Poferl, a German Bohemian mother from \u010cesk\u00fd Krumlov. To those around him, Schiele was regarded as a strange child. Shy and reserved, he did poorly at school except in athletics and drawing, and was usually in classes made up of younger pupils. He also displayed incestuous tendencies towards his younger sister Gertrude (who was known as Gerti), and his father, well aware of Egon's behaviour, was once forced to break down the door of a locked room that Egon and Gerti were in to see what they were doing (only to discover them developing film). Three days after his wedding, Schiele was ordered to report for active service in the army where he was initially stationed in Prague. Edith came with him and stayed in a hotel in the city, while Egon lived in an exhibition hall with his fellow conscripts. They were allowed by Schiele's commanding officer to see each other occasionally. Schiele was the subject of the 1980 biographical film Excess and Punishment (aka Egon Schiele \u2013 Exzess und Bestrafung), originating in Germany with a European cast that explores Schiele's artistic demons leading up to his early death. The film was directed by Herbert Vesely and stars Mathieu Carri\u00e8re as Schiele, Jane Birkin as his early artistic muse Wally Neuzil, Christine Kaufman as his wife, Edith Harms, and Kristina Van Eyck as her sister, Adele Harms.",
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Egon Leo Adolf Ludwig Schiele (German:[\u02c8e\u02d0\u0261\u0254n\u02c8\u0283i\u02d0l\u0259]\u24d8; 12 June 1890 \u2013 31 October 1918) was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Gustav Klimt, a figurative painter of the early 20th century, was a mentor to Schiele.\n
Schiele was born in 1890 in Tulln, Lower Austria. His father, Adolf Schiele, the station master of the Tulln station in the Austrian State Railways, was born in 1851 in Vienna to Karl Ludwig Schiele, a German from Ballenstedt and Aloisia Schimak; Egon Schiele's mother Marie, n\u00e9e Soukup, was born in 1861 in \u010cesk\u00fd Krumlov (Krumau) to Franz Soukup, a Czech father from Mirkovice, and Aloisia Poferl, a German Bohemian mother from \u010cesk\u00fd Krumlov.[1][2] As a child, Schiele was fascinated by trains, and would spend many hours drawing them, to the point where his father felt obliged to destroy his sketchbooks. When he was 11 years old, Schiele moved to the nearby city of Krems (and later to Klosterneuburg) to attend secondary school. To those around him, Schiele was regarded as a strange child. Shy and reserved, he did poorly at school except in athletics and drawing,[3] and was usually in classes made up of younger pupils. He also displayed incestuous tendencies towards his younger sister Gertrude (who was known as Gerti), and his father, well aware of Egon's behaviour, was once forced to break down the door of a locked room that Egon and Gerti were in to see what they were doing (only to discover them developing film). When he was sixteen he took the twelve-year-old Gerti by train to Trieste without permission and spent a night in a hotel room with her.[4]\n
When Schiele was 14 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczek, also a railway official.[2] Although he wanted Schiele to follow in his footsteps, and was distressed at his lack of interest in academia, he recognised Schiele's talent for drawing and unenthusiastically allowed him a tutor, the artist Ludwig Karl Strauch. In 1906 Schiele applied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden K\u00fcnste in Vienna in 1906. His main teacher at the academy was Christian Griepenkerl, a painter whose strict doctrine and ultra-conservative style frustrated and dissatisfied Schiele and his fellow students so much that he left three years later.\n
In 1907, Schiele sought out Gustav Klimt, who generously mentored younger artists. Klimt took a particular interest in the young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. He also introduced Schiele to the Wiener Werkst\u00e4tte, the arts and crafts workshop connected with the Secession. Schiele's earliest works between 1907 and 1909 contain strong similarities with those of Klimt,[5] as well as influences from Art Nouveau.[6] In 1908 Schiele had his first exhibition, in Klosterneuburg. Schiele left the academy in 1909, after completing his third year, and founded the Neukunstgruppe (\"New Art Group\") with other dissatisfied students. In his early years, Schiele was strongly influenced by Klimt and Kokoschka. Although imitations of their styles, particularly with the former, are noticeably visible in Schiele's first works, he soon evolved his own distinctive style.\n
\nPortrait of Anton Peschka 1909\nLiving room in Neulengbach, 1911\n
Klimt invited Schiele to exhibit some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the academy's conventions, Schiele began to explore not only the human form, but also human sexuality. Schiele's work was already daring, but it went a bold step further with the inclusion of Klimt's decorative eroticism and with what some may like to call figurative distortions, that included elongations, deformities, and sexual openness. Schiele's self-portraits helped re-establish the energy of both genres[clarification needed] with their unique level of emotional and sexual honesty and use of figural distortion in place of conventional ideals of beauty. He also painted tributes to Van Gogh's Sunflowers as well as landscapes and still lifes.[7]\n
In 1910, Schiele began experimenting with nudes and within a year a definitive style featuring emaciated, sickly-coloured figures, often with strong sexual overtones. Schiele also began painting and drawing children.[8] Schiele's self portrait, Kneeling Nude with Raised Hands (1910), is considered among the most significant nude art pieces made during the 20th century.[by whom?] Schiele's radical and developed approach towards the naked human form challenged both scholars[who?] and progressives alike. This unconventional piece and style went against strict academia and created a sexual uproar with its contorted lines and heavy display of figurative expression.[citation needed] At the time, many[who?] found the explicitness of his works disturbing.\n
From then on, Schiele participated in numerous group exhibitions, including those of the Neukunstgruppe in Prague in 1910 and Budapest in 1912; the Sonderbund, Cologne, in 1912; and several Secessionist shows in Munich, beginning in 1911. In 1911, Schiele met the seventeen-year-old Walburga (Wally) Neuzil, who lived with him in Vienna and served as a model for some of his most striking paintings. Very little is known of her, except that she had previously modelled for Gustav Klimt and might have been one of his mistresses. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to the small town of \u010cesk\u00fd Krumlov (Krumau) in southern Bohemia. Krumau was the birthplace of Schiele's mother; today it is the site of a museum dedicated to Schiele. Despite Schiele's family connections in Krumau, he and his lover were driven out of the town by the residents, who strongly disapproved of their lifestyle, including his alleged employment of the town's teenage girls as models. Progressively, Schiele's work grew more complex and thematic, and he eventually would begin dealing with themes such as death and rebirth.[9]\n
\nSchiele's drawing of his prison cell in Neulengbach\n
Together the couple moved to Neulengbach, 35 km (22 mi) west of Vienna, seeking inspirational surroundings and an inexpensive studio in which to work. As it was in the capital, Schiele's studio became a gathering place for Neulengbach's delinquent children. Schiele's way of life aroused much animosity among the town's inhabitants, and in April 1912 he was arrested for seducing a young girl of 13,[10] below the 14-year-old age of consent.[11]\n
When the police came to his studio to place Schiele under arrest, they seized more than a hundred drawings which they considered pornographic. Schiele was imprisoned while awaiting his trial. When his case was brought before a judge, the charges of seduction and abduction were dropped, but the artist was found guilty of exhibiting erotic drawings in a place accessible to children. In court, the judge burned one of the offending drawings (\"depicting a very young girl dressed only above the waist\"[12]) over a candle flame. The twenty-one days he had already spent in custody were taken into account, and he was sentenced to a further three days' imprisonment. While in prison, Schiele created a series of 12 paintings depicting the difficulties and discomfort of being locked in a jail cell.[citation needed]\n
\nSelf portrait\n
In 1913, the Galerie Hans Goltz, Munich, mounted Schiele's first solo show. A solo exhibition of his work took place in Paris in 1914.[13]\n
\nEdith Schiele in a Striped Dress, Seated, 1915 Leopold Museum\n
In 1914, Schiele glimpsed the sisters Edith and Ad\u00e9le Harms, who lived with their parents across the street from his studio in the Viennese district of Hietzing, 101 Hietzinger Hauptstra\u00dfe. They were a middle-class family and Protestant by faith; their father was a master locksmith. In 1915, Schiele chose to marry the more socially acceptable Edith, but had apparently expected to maintain a relationship with Wally. However, when he explained the situation to Wally, she left him immediately and never saw him again. This abandonment led him to paint Death and the Maiden, where Wally's portrait is based on a previous pairing, but Schiele's is newly struck. (In February 1915, Schiele wrote a note to his friend Arthur Roessler stating: \"I intend to get married, advantageously. Not to Wally.\"[This quote needs a citation]) Despite some opposition from the Harms family, Schiele and Edith were married on 17 June 1915, the anniversary of the wedding of Schiele's parents.[14]\n
\nPhotograph of Egon Schiele, 1910s\n
Although Schiele avoided conscription for almost a year, World War I now began to shape his life and work. Three days after his wedding, Schiele was ordered to report for active service in the army where he was initially stationed in Prague. Edith came with him and stayed in a hotel in the city, while Egon lived in an exhibition hall with his fellow conscripts. They were allowed by Schiele's commanding officer to see each other occasionally.[15][16]\n
During the war, Schiele's paintings became larger and more detailed. His military service, however, gave him limited time, and much of his output consisted of linear drawings of scenery and military officers. Around this time, Schiele also began experimenting with the themes of motherhood and family.[13] His wife Edith was the model for most of his female figures, but during the war (due to circumstance) many of his sitters were male. Since 1915, Schiele's female nudes became fuller in figure, but many were deliberately illustrated with a lifeless doll-like appearance.[citation needed]\n
Despite his military service, Schiele was still exhibiting in Berlin. He also had successful shows in Z\u00fcrich, Prague, and Dresden. His first duties consisted of guarding and escorting Russian prisoners. Because of his weak heart and his excellent handwriting, Schiele was eventually given a job as a clerk in a POW camp near the town of M\u00fchling. There, he was allowed to draw and paint imprisoned Russian officers; his commander, Karl Moser (who assumed that Schiele was a painter and decorator when he first met him), even gave him a disused store room to use as a studio. Since Schiele was in charge of the food stores in the camp, he and Edith could enjoy food beyond rations.[17]\n
\nSchiele's poster for the 49th exhibition of the Vienna Secession in 1918\n
By 1917, he was back in Vienna and able to focus on his artistic career. His output was prolific, and his work reflected the maturity of an artist in full command of his talents. He was invited to participate in the Secession's 49th exhibition, held in Vienna in 1918. Schiele had fifty works accepted for this exhibition, and they were displayed in the main hall. He also designed a poster for the exhibition; it was reminiscent of the Last Supper, with a portrait of himself in the place of Christ. The show was a triumphant success. As a result, prices for Schiele's drawings increased and he received many portrait commissions.[citation needed][18]\n
In the autumn of 1918, the Spanish flupandemic reached Vienna. Edith, who was six months pregnant, died from the disease on 28 October. Schiele died only three days after his wife. He was 28 years old. During the three days between their deaths, Schiele drew a few sketches of Edith.[19]\n
Some critics such as Jane Kallir have commented upon Schiele's work as being grotesque, erotic, pornographic, or disturbing, focusing on sex, death, and discovery. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion.[13] From a young age, Schiele drew with 'manic fluency'.[20]\n
Art critic Martin Gayford wrote in The Spectator: 'He [Schiele] found his distinctive style very early. His entire oeuvre is that of a young man; most of the work in the first of the two rooms of this densely packed little exhibition dates from 1910 to 1911, when Schiele (1890\u20131918) was just 20. That helps to explain some tendencies: a half-disgusted preoccupation with sexuality and a similarly queasy fascination with examining his naked self. The male figures mainly seem to have been modelled by the artist, though it is hard to be certain since the head is often not included.'[20]\n
Kallir and scholar Gerald Izenberg regard Schiele as fluid in sexuality and gender. Kallir says Schiele was \"struggling with his own sexual feelings and gender norms\" during a historical period of shifting gender expectations, the early women's movement, and criminalization of homosexuality. Some critics in the 21st century read his artwork as queer.[21][22]\n
A less known fact about Schiele's career is that, during his studies at the School of Arts and Crafts in Vienna, he explored sculpture and created a number of small-scale clay and plaster sculptures.[23]\n
Schiele was the subject of the 1980 biographical film Excess and Punishment (aka Egon Schiele \u2013 Exzess und Bestrafung), originating in Germany with a European cast that explores Schiele's artistic demons leading up to his early death. The film was directed by Herbert Vesely and stars Mathieu Carri\u00e8re as Schiele, Jane Birkin as his early artistic muse Wally Neuzil, Christine Kaufman as his wife, Edith Harms, and Kristina Van Eyck as her sister, Adele Harms. Also in 1980, the Arts Council of Great Britain produced a documentary film, Schiele in Prison, which looked at the circumstances of Schiele's imprisonment and the veracity of his diary.[24] In 2016 another biographical film was released, Egon Schiele: Death and the Maiden (German: Egon Schiele: Tod und M\u00e4dchen).[25]\n
Joanna Scott's 1990 novel Arrogance was based on Schiele's life and makes him the main figure. His life was also depicted in a theatrical dance production by Stephan Mazurek called Egon Schiele, presented in May 1995, for which Rachel's, an American post-rock group, composed a score titled Music for Egon Schiele.[26] For The Featherstonehaughs contemporary dance company, Lea Anderson choreographed The Featherstonehaughs Draw On The Sketchbooks Of Egon Schiele in 1997.[27] Glen Hansard, lead singer of Irish band The Frames, said (of writing the song Santa Maria) \"...With Santa Maria, I was trying to write a song about Egon Schiele, and about him and his girlfriend, while they were both dying from Spanish flu...\".https://www.threemonkeysonline.com/excreting-songs-glen-hansard-of-the-frames/3/\n
Schiele's life and work have also been the subject of essays, including a discussion of his works by fashion photographer Richard Avedon in an essay on portraiture entitled \"Borrowed Dogs.\"[28]Mario Vargas Llosa uses the work of Schiele as a conduit to seduce and morally exploit a main character in his 1997 novel The Notebooks of Don Rigoberto.[29]\nWes Anderson's film The Grand Budapest Hotel features a painting by Rich Pellegrino that is modeled after Schiele's style which, as part of a theft, replaces a so-called Flemish/Renaissance masterpiece, but is then destroyed by the angry owner when he discovers the deception.[30] The cover of David Bowie's 1979 Lodger album is inspired by Schiele's self-portraits[31] and an image of Schiele appears on the cover of the 2013 single The Stars (Are Out Tonight).[32]\n
Julia Jordan based her 1999 play Tatjana in Color, which was produced off-Broadway at The Culture Project during the fall of 2003, on a fictionalization of the relationship between Schiele and the 12-year-old Tatjana von Mossig, the Neulengbach girl whose morals he was ultimately convicted of corrupting for allowing her to see his paintings.[33] The opening chapters of Guy Mankowski's 2017 novel An Honest Deceit were cited to be heavily influenced by Schiele's paintings; in particular his portrayals of his sister, Gertrude.[34]\n
Egon Schiele had among his admirers many Jewish art collectors whose collections were looted under the Nazis: in Germany from 1933, in Austria from the Anschluss of 1938, and in France from the German occupation of 1940. As a result, numerous restitution cases in the 21st century involve artworks by Schiele. Egon Schiele's Dead City, \"Woman in Black Pinafore\" (1911) and \"Woman Hiding Her Face\" (1912) were owned by Jewish cabaret artist and film star Fritz Gr\u00fcnbaum before the Nazis deported him to the Dachau concentration camp.[37][38]Krumau (1916) was owned by Daisy Hellmann until it was seized by Nazis in 1942.[39][40] She first made a restitution claim in 1948 but her heirs were not able to recover the Schiele until 2002: Austria's Nazi looting organization, the Vugesta, had auctioned Krumau at the Dorotheum in Vienna on 24\u201327 February 1942, where the Sanct Lucas gallery bought it on behalf of Wolfgang Gurlitt. In 1953, the City of Linz acquired it for the Neue Galerie in Linz.[41] The 1917 painting by Egon Schiele, Portrait of the Artist's Wife was owned by Karl Mayl\u00e4nder, a Jewish businessman in Vienna who was killed in Auschwitz. Robert \"Robin\" Owen Lehman, the son of Robert Lehman, bought Portrait of the Artist's Wife (1917) in 1964 from Marlborough Gallery in London.[42]Four Trees / Autumn All\u00e9e was owned by Josef Morgenstern who was arrested and deported to Auschwitz, where he was murdered.[43][44]\n
The art gallery of the Jewish art dealer Lea Bondi Jaray, owner of the famous Portrait of Wally, was seized by the Nazis prior to his escaping to London.[45]Wilted Sunflowers, which had been owned by Jewish art collector Karl Grunwald and seized by Nazis in Strasbourg, was discovered after a private collector took it to Christies for evaluation in 2005.[46][47]Portrait of Wally, a 1912 portrait, was purchased by Rudolf Leopold in 1954 and became part of the collection of the Leopold Museum when it was established by the Austrian government, purchasing more than 5,000 pieces that Leopold had owned. After a 1997\u20131998 exhibit of Schiele's work at the Museum of Modern Art in New York City, the painting was seized by order of the New York County District Attorney and had been tied up in litigation by heirs of its former owner who claim that the painting was Nazi plunder and should be returned to them.[48][49]\n
The dispute was settled on 20 July 2010 and the picture subsequently purchased by the Leopold Museum for US$19 million.[50] In 2013, the museum sold three drawings by Schiele for \u00a314 million at Sotheby's London in order to settle the restitution claim over its 1914 Schiele painting Houses by the Sea.[51] The most expensive, Liebespaar (Selbstdarstellung mit Wally) (1914/15), or Two lovers (Self Portrait With Wally), raised the world auction record for a work on paper by the artist to \u00a37.88 million.[52] On 21 June 2013 Auctionata in Berlin sold a watercolor from 1916, Reclining Woman, at an online auction for \u20ac1.827 million (US$2.418 million). This is a world record for the most expensive work of art ever sold at an online auction.[53][54][55]\n
^Blackshaw, Gemma (2020). \"Egon Schiele's Passion: Spirituality and Sexuality, 1912-15\". In Natter, Tobias (ed.). Egon Schiele. The Complete Paintings 1909\u20131918. K\u00f6ln: Taschen. p. 223. ISBN978-3-8365-8125-7.\n
^Roberts, Michael; Kiser, Amy (4 April 1996). \"Playlist\". Denver Music. Westword.com. Archived from the original on 3 November 2012. Retrieved 2 October 2017.\n
^\"Cases: Krumau, 1916 or 'St\u00e4dtchen am Flu\u00df' by Egon Schiele: Restitution decision by the City of Linz December 2002\". www.lootedart.com. Retrieved 25 March 2021. In late 2002, the City of Linz decided to return the painting 'Krumau, 1916' by Egon Schiele to the heirs of Daisy Hellmann. In June 1948, Daisy Hellmann \u2013 then residing in Sao Paolo, Brasil \u2013 deposited a claim for the restitution of the Schiele painting 'Krumau, 1916' at the Restitution Commission of the Provincial Court in Graz (Styria). Hellmann had to leave the painting behind when fleeing Vienna in 1938. The Schiele was looted by the Vugesta and put up for auction at the Dorotheum on 24\u201327 February 1942, where it was bought by the Viennese Sanct Lucas gallery for RM 1,800 on behalf of the art dealer Wolfgang Gurlitt. In 1953, the painting was among the group of works the City of Linz acquired from Gurlitt's collection for the 'Neue Galerie' in Linz.\n
^\"REDISCOVERED MASTERPIECE\"(PDF). Christies. In 1938, the year Hitler annexed Austria, Gr\u00fcnwald, who by this time had amassed a first rate collection of Austrian art, fled Vienna for France. Settling in Paris, the collector moved fifty paintings out of Austria, including the present work. Unfortunately, the Gr\u00fcnwald collection, including Wilted Sunflowers (Autumn Sun II), was confiscated in Strasbourg, where it had been placed in storage by Gr\u00fcnwald and sold at auction in 1942\n
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