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    Egon Schiele and artworks
    Egon Schiele and artworks
    Egon Schiele and artworks
    Ebook176 pages2 hours

    Egon Schiele and artworks

    By Jeanette Zwingenberger, Esther Selsdon and Ashley Bassie

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    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 dateNov 14, 2023
    ISBN9781781608678
    Egon Schiele and artworks

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      Book preview

      Egon Schiele and artworks - Jeanette Zwingenberger

      Schiele on his deathbed, 1918

      Biography

      1890:

      Birth of Egon Schiele in Tulln, Austria

      1890-1900:

      Schiele devotes himself to drawing at a very young age, finding his first motifs in his native city and his surroundings.

      1906:

      Schiele enters the Vienna Academy of Fine Arts.

      1907:

      Meets Gustav Klimt. Klimt influenced Schiele’s first works and never ceased to encourage the young artist.

      1908:

      Exhibition in Klosterneuburg.

      1909:

      Rebels against the teachings of his Academy professor and he writes, along with several colleagues, a list of demands asking for greater freedom of artistic expression. Because of this incident, he is forced to leave the Academy. Schiele then founds the New Art group (Neukunstgruppe) along with artists like Anton Peschka and Hans Massmann. The group will hold their first exhibition at Vienna’s Pisko Salon. Thanks to Klimt, Schiele is invited to the prestigious International Exhibition of Vienna.

      1910:

      Meets with Arthur Roessler, an art critic who presents Schiele to many collectors.

      1911:

      Works in Krumau, Bavaria. He lives with one of his models, Wally Neuzil, offending the morality of the habitants of the small village. He then leaves for Neulengbach before settling down in Vienna in 1912.

      1912:

      He exhibits in Budapest with the Neukunstgruppe and in Munich. Publication of his first lithograph. He is accused of the corruption of a minor, and is sentenced to three weeks in prison between March and April, a penalty that profoundly affects him.

      He then records his bitterness and revolts over his punishment in his Prison Journal, published by Arthur Roessler in 1922. In July, he presents at Cologne’s Sonderbund Exhibition, one of the most outstanding events of Austrian expressionism.

      1913:

      He is admitted into the Bund Österreichischer Künstler (a league of Austrian artists) whose president is Gustav Klimt. In March, Schiele and the other artists in the league exhibit in Budapest. He then participates in the spring exhibition at the Munich Secession, at the Grosse Kunstausstellung in Berlin and at the forty-third exhibition at the Vienna Secession. He also contributes his writings and drawings to the Berlin review Die Aktion.

      1915:

      Marriage of Egon Schiele and Edith Harms. The effects of this lifestyle change on Schiele can be seen in his work as his eroticism became less violent. Even though he had escaped from mobilisation, the medical commission returned to its decision and declared him fit for the front. He is drafted into the Austrian army. His artistic production decreased considerably.

      1916:

      Schiele exhibits at the Berlin Secession and then at the Munich Secession. Die Aktion gives him a special issue.

      1917:

      He returns to Vienna where he sits on the Imperial Commission. From now on, Schiele can spend his time focusing on painting. He creates the Kunsthalle, a free association of artists. He participates in an exhibition at Vienna’s Kaisergarten and then in various exhibitions in Amsterdam, Stockholm and Copenhagen. Schiele begins to contribute to the new Viennese movement, Der Anbruch.

      1918:

      Death of Gustav Klimt on 6 February. Schiele’s participation in the Viennese Secession is a success for his financial and artistic plans. A number of Viennese personalities are interested in his ever-growing body of work and success. In the fall, his wife contracts the Spanish flu and dies on 28 October. Egon Schiele also contracts the virus, follows suit and falls ill, passing away on 31 October.

      Self-Portrait, 1907

      Oil on cardboard, 32.4 x 31.2 cm. Private collection

      Foreword

      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.

      In the photograph of Schiele on his deathbed, the twenty-eight year old appears asleep, his gaunt body completely emaciated, his head resting on his bent arm; the similarity to his drawings is astounding. Because of the danger of infection, his last

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