By Esther Selsdon, Jeanette Zwingerberger
The Best of sequence offers, because the identify indicates, highlights from the paintings of well known artists followed by way of biographical text
Egon Schiele (1890-1918) is among the nice Expressionist painters. He used to be taught through Gustav Klimt, and at a truly early age, like his Viennese Secession predecessors, broke with the traditions of professional Austrian paintings. His a variety of self-portraits and nude versions remained constant all through his profession according to his erotic, sensual and tormented visions of artwork. The work and textual content incorporated during this booklet show the extreme expertise of this artist who, unfortunately, died of Spanish influenza on the age of twenty-eight in Vienna.
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Additional info for Best of: Egon Schiele
32) Self-Portrait, Nude, 1910. 3 cm. Leopold Collection, Leopold Museum, Vienna. (p. 33) 31 32 33 her, nothing is known. Schiele dealt with this incident in several paintings: Birth of the Genius and The Dead Mother (p. 82). He painted a foetus, which, still in its mother’s womb, stares at the viewer. During this time, studies in love and death went hand-in-hand. On the one hand, the sexual act is associated with the danger of pregnancy and the possibility of dying in childbirth. The life-giving body may be destroyed by death.
The marks on the body executed by the use of a wash are astonishing; often in contrasting colours of green and red, they create aggressive tension. In contrast to the general impression of the shape, the splotches point to a closer view. This intimacy exposes the condition of the skin. Schiele’s models do not possess unblemished white, alabaster bodies, rather, he gets under their skin. ” Schiele turns the fleshy inner part of the vagina inside out. As to the aesthetics of the colour splotches which like the famous blotch paintings by Rorschach render the viewer a surface to project onto, Hugo von Hofmannstal wrote that “art is magical writing, which uses colours instead of words to portray an internal vision Three Girls, 1911.
Pencil on paper, 43 x 30 cm. Staatliche Graphische Sammlung, Munich. (p. 48) 50 Phantom-Like Creatures With a few lines, Schiele sketched the outlines of the body on paper. A thigh is reduced to two lines. The stroke is dynamic, grows fainter, following the structural ductility of a fast thrown-in movement. Jagged, with hard angles he loves the bone structure. Schiele’s strokes are like calligraphy, which captures the body’s expression in just a few lines. In contrast to the reluctant, bony aspect of the shoulders and pelvis is the round diffraction of the chest.