Egon Schiele
Paintings , Drawings
Seated Woman with Legs Drawn Up. Adele Herms
House with Shingle Roof. Old House II
Small Tree in Late Autumn
Houses with Laundry. Suburb II
Self-Portrait with Physalis
Autumn Tree in Stirred Air. Winter Tree
Mourning Woman
Levitation. The Blind II
The embrace, Lovers II
Portrait of Edith
Danae
Mother with two children III
House in Hutteldorf
Krumau - Crescent of Houses. The Small City V
Setting Sun
Portrait of Bertha von Wiktorin
House Wall on the River
The Vision of Saint Hubert
Meadow with village in the background II
Meadow Church and Houses
Nude, self-portrait
The Embrace ( The Lovers )
Heinrich Bensch and his Son Otto
Woman Couple ( women hugging yourself )
Houses with clotheslines or suburb
Houses in front of the mountainside
Squatting male nude ( self portrait )
Cardinal and Nun or The caress
Klosterneuburg, bald trees and houses
Kneeling nude, self-portrait
Kneeling girl on both elbows supported
Cesky Krumlov on the Vltava River or town IV
Lovemaking , study
lovers
lovers
Reclining Woman
Male Nude with red cloth
Male nude , self-portrait
Wall and house before rolling terrain with fence
Mother with two children ( the mother)
Portrait of Edith Schiele in a striped dress
Portrait of Edith Schiele , sitting
Portrait of Albert Paris von Gütersloh
Schiele Livingroom in Neulengbach
Black -haired girl with upturned rock
Sailing ships in waves moved water
masturbation
Self-portrait with lowered head
Self Portrait with Chinese lantern fruits
Self Portrait with Black Clay Pot
Selfview or death and man
Seated Woman with blue hair band
Seated Male Nude
Seated Female Nude
Seated Couple
Dead city or city at the blue river
Female Nude
Reclined Woman
Drawings
Squatting Female Nude
Schiele with Nude Model before the Mirror
Woman seated with shoes
Crouching Woman with Green Headscarf
Standing Female Nude
Two Friends
Two Reclining Nudes
Woman and Girl Embracing
Seated Nude in Shoes and Stockings
Standing Nude with Raised Arms
Reclining and seated female nudes on a red and green cloth
Nude seen from above
Two Women Embracing 2
Crouching Female Nude
Two Female Nudes by the Water
Seated Woman with bent left leg. Torso
Standing Nude with a Patterned Robe
Seated Girl with raised left leg
Seated Nude seen from behind
Standing Woman in a Patterned Blouse
Crouching Female Nude
Standing Woman
Portrait of the Artist's Wife Seated Holding Her Right Leg
Reclining Girl with Black Stocking
Wally in Red Blouse with Raised Knees
Edith in Hat and Veil
Kneeling Woman
Dancer
Ringplatz-Krummau
Edith with Striped Dress Sitting
Standing Nude with White Drapery
Seated Female Nude Arms and Legs Crossed
Kummernis
Portrait Of A Woman 3
Standing Nude, Facing Right
Portrait of Arthur Roessler
Cain slaying Abel
Old Houses in Krumau
Portrait of a Woman 1
Kahlenberg
Seated Woman in Violet Stockings
Seated Nude, Back View
Crouching Blonde Nude with extended Left Arm
Portrait of a Woman with Blue and Green Scarf
Woman in Underclothes and Stockings
Baby
Sleeping Girl
Seated Woman with Green Stockings
Standing Girl with Green Dress
Woman Sitting on her Heel
Woman Crouching
Reclining Woman with Green Stockings
Seated Woman. Back View
Self-Portrait with Striped Sleeves
Friederike Maria Beer
Church Hospital Modling
Self-Portrait with Eyelid Pulled Down
Reclining Woman 2
Nude with Blue Stockings Bending Forward
Portrait of Eduard Kosmack frontal with clasped Hands
Moa
Standing Female in Shirt with Black Stockings and Red Scarf
Mother and Daughter
Standing Nude with Large Hat. Gertrude Schiele
Semi-Nude Blond Girl with Blue Shirt and Blue Headband
Composition with Three Male Nudes
Crouching Nude in Shoes and Black Stockings. Back View
Girlfriend. Pink-Blue
Blonde Girl in Underwear
Girl in Red Robe and Black Stockings
Seated Couple
Landscape
Standing Girl
Portrait of Eva Freund
Man And Woman Embracing
Standing Nude Girl with Long Hair
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Seated Woman with Legs Drawn Up. Adele Herms
Egon Schiele (German: [ˈʃiːlə] ƩEE-lə; June 12, 1890 – October 31, 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity, and the many self-portraits the artist produced. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism.
Early life
Schiele aged 16, self-portrait from 1906
Schiele was born in 1890 in Tulln, Lower Austria. His father, Adolf Schiele, was the station master of the Tulln station in the Austrian State Railways; his mother Marie, née Soukupová, was a Czech from Český Krumlov (Krumau), in southern Bohemia.[1] 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,[2] 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 that they were developing a 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.[3]
Academy of Fine Arts
When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczec, also a railway official.[1] 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 Künste 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.
Klimt and first exhibitions
Portrait of Arthur Rössler, 1910
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 Werkstätte, the arts and crafts workshop connected with the Secession. 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.
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. At the time, many found the explicitness of his works disturbing.
Photograph of Egon Schiele, 1914
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 1913, the Galerie Hans Goltz, Munich, mounted Schiele's first solo show. A solo exhibition of his work took place in Paris in 1914.
Controversy, success and marriage
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 Český 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.
Neulengbach and imprisonment
Schiele's drawing of his prison cell in Neulengbach
Together they moved to Neulengbach, 35 km 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 below the age of consent.
When they came to his studio to place him under arrest, the police 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 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.
Marriage
Edith Schiele 1915
In 1914, Schiele glimpsed the sisters Edith and Adéle Harms, who lived with their parents across the street from his studio in the Viennese suburb of Hietzing, 101 Hietzinger Hauptstrasse. 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.") 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.
War, final years and death
Photograph of Egon Schiele, 1910s
Despite avoiding conscription for almost a year, World War I now began to shape Schiele's 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. Despite his military service, Schiele was still exhibiting in Berlin. During the same year, he also had successful shows in Zürich, 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 Mühling.
There he was allowed to draw and paint imprisoned Russian officers, and 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.[4] By 1917, he was back in Vienna, 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, which was reminiscent of the Last Supper, with a portrait of himself in the place of Christ. The show was a triumphant success, and as a result, prices for Schiele's drawings increased and he received many portrait commissions.
Death
In the autumn of 1918, the Spanish flu pandemic that claimed more than 20,000,000 lives in Europe reached Vienna. Edith, who was six months pregnant, succumbed to 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; these were his last works.[5]
Style
Portrait of Anton Peschka 1909
Living room in Neulengbach, 1911
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.
Schiele's earliest works between 1907 and 1909 contain strong similarities with those of Klimt,[6] as well as influences from Art Nouveau.[7] 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]
Self portrait
Progressively, Schiele's work grew more complex and thematic, and after his imprisonment in 1912 he dealt with themes such as death and rebirth,[9] although female nudes remained his main output. During the war Schiele's paintings became larger and more detailed, when he had the time to produce them. 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 theme of motherhood and family.[10] 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 had become fuller in figure, but many were deliberately illustrated with a lifeless doll-like appearance. Towards the end of his life, Schiele drew many natural and architectural subjects. His last few drawings consisted of female nudes, some in masturbatory poses.
Some view 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. He also painted tributes to Van Gogh's Sunflowers as well as landscapes and still lifes.[11]
Legacy
Max Oppenheimer 1910
Schiele was the subject of the biographical film, Excess and Punishment (aka Egon Schiele – Exzess und Bestrafung), a 1980 film 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 Carrière 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.[12]
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.[13] For The Featherstonehaughs contemporary dance company, Lea Anderson choreographed The Featherstonehaughs Draw On The Sketchbooks Of Egon Schiele in 1997.[14]
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."[15] 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.[16] Wes 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.[17]
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 Shiele 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.[18]
Sales and collections
Portrait of Wally, 1912
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 1997–1998 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[19] 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.[20]
The dispute was settled on July 20, 2010 and the picture subsequently purchased by the Leopold Museum for 19 million US$.[21] In 2013, the museum sold three drawings by Schiele for £14 million at Sotheby's London in order to settle the restitution claim over its 1914 Schiele painting Houses by the Sea.[22] 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 £7.88 million.[23]
The Leopold Museum, Vienna houses perhaps Schiele's most important and complete collection of work, featuring over 200 exhibits. The museum sold one of these, Houses With Colorful Laundry (Suburb II), for $40.1 million at Sotheby's in 2011.[24] Other notable collections of Schiele's art include the Egon Schiele-Museum, Tulln, the Österreichische Galerie Belvedere, and the Albertina Graphic Collection, both in Vienna.
On June 21, 2013 Auctionata in Berlin sold a watercolor from 1916, Reclining Woman at an online auction for €1.827 million (US $2.418 million). This is a world record for the most expensive work of art ever sold at an online auction.[25] [26][27]
Notes
Sabarsky S (2000). Egon Schiele Art Centrum Český Krumlov. Egon Schiele Foundation. pp. 31–38. ISBN 3-928844-32-6.
F. Whitford, 1981, p30
F. Whitford, 1989, p29
F. Whitford, 1981, p164-168
Frank Whitford, Expressionist Portraits, Abbeville Press, 1987, p. 46. ISBN 0-89659-780-6.
Kallir, 2003, pages 46, 52, 60
Kallir, 2003, page 41
Kallir, 2003, pages 86, 88, 123
Kallir, 2003, pages 224, 230, 231
Kallir, 2003, pages 277, 362, 444
"Egon Schiele: Erotic, Grotesque and on Display". ARTINFO. 1 April 2005. Retrieved 2008-04-17.
"Schiele In Prison". Arts on Film Archive. Retrieved April 2, 2015.
Roberts, Michael; Kiser, Amy (4 April 1996). "Playlist". Denver Music. Westword.com. Retrieved 01-04-2008.
"The Cholmondeleys & The Featherstonehaughs :: Current productions". web.archive.org. Retrieved 2014-02-22.
"Performance & Reality: Essays from Grand Street (magazine)," edited by Ben Sonnenberg
"The Notebooks of Don Rigoberto - Mario Vargas Llosa".
"Is The Grand Budapest Hotel's 'Boy with Apple' artwork plausible?". The Observer. Retrieved 2014-03-31.
"Jordan, Jordan Everywhere". theatermania.com. Retrieved 2014-03-22.
Marilyn Henry (24 July 2010). "Justice is Done, Finally". Jerusalem Post.
Bayzler, Michael J.; and Alford, Roger P. Holocaust restitution: perspectives on the litigation and its legacy, p. 281. NYU Press, 2006. ISBN 0-8147-9943-4. Accessed July 5, 2010.
Kennedy, Randy (20 July 2010). "Leopold Museum to Pay $19 Million for Painting Seized by Nazis". The New York Times.
Scott Reyburn (February 6, 2013), Picasso’s Portrait of Lover Stars in $190 Million Auction Bloomberg.
Souren Melikian (February 6, 2013), At Sotheby’s Sale, Estimates Prove to Be Just Wild Guesses New York Times.
"Schiele and Picasso Draw Interest at London Auctions". The New York Times. 23 June 2011 – via New York Times.
"Schiele bringt Rekordpreis bei Online-Auktion" (in German). Welt.de. Retrieved 2013-08-18.
"Schiele sells for world record price at online auction" (in German). Auctionata.com. Retrieved 2013-08-18.
"Auctionata Breaks Online Auction Record: Egon Schiele's Reclining Woman Sold Live for EUR 1.8 Million (US$2.4 Million)". marketwired.com. Retrieved 2014-02-22.
References
Egon Schiele: The Complete Works Catalogue Raisonné of all paintings and drawings by Jane Kallir, 1990, Harry N. Abrams, New York, ISBN 0-8109-3802-2.
Egon Schiele: The Egoist (Egon Schiele: Narcisse échorché) by Jean-Louis Gaillemin; translated from the French by Liz Nash, 2006, ISBN 978-0-500-30121-0 & ISBN 0-500-30121-2.
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