Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Parkstone International
Egon Schiele (Esther Selsdon, Jeanette Zwingenberger)2012 •
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.
Egon Schiele's network of friends and mentors, erotic imagery, eccentric artistic identity and popular scientific research fed Austria’s need for the exotic, and innovative art. Schiele’s tight knit groups of men assisted each other to further each of their own personal pursuits and careers. Members of the network were Gustav Klimt (Schiele’s mentor), Josef Hoffman (designer and architect), Otto Benesch (prominent art historian), Arthur Roessler (art critic), Carl Reininghaus (brewery owner and art collector), Oskar Reichel (physician and surgeon) and Dr. Erwin von Graff, who is a gynaecologist, which eventually introduced Schiele to Dr. Kronfeld the psychiatrist. These men had a taste for the eroticized femme fragile and the pathologically expressive body and portraits. They influenced and supported him by providing access to visual resources for his artwork from 1910 to 1915. Schiele’s chose to use the iconic image from both the Iconographie Photographique de la Salpêtrière (IPS journals) and Nouvelle Iconographie de la Salpêtrière (NIS journals) to create a visual representation of the body both medically and artistic to communicate while creating the psychological distinction between men and women of their time.
caa.reviews (July 16, 2015). Available: http://www.caareviews.org/reviews/2526.
“Egon Schiele: Portraits,” Neue Galerie New York, October 9, 2014–January 19, 2015With few visual precedents, Egon Schiele (1890-1910) was the first artist to systematically explore the double self-portrait’s potential by painting, drawing and photographing thirteen works in the genre. In this paper, I argue that these pieces reflect Schiele’s interest in establishing a deep engagement with the viewing subject. I consider Schiele’s double self-portraiture in two distinct categories: as an original group (The Self-Seers) from 1910 and 1911, and as a series of unique, experimental works after 1913. While the Self-Seers paintings exhibit Schiele’s concern with the act of viewing, his subsequent works suggest that Schiele recognized double self-portraiture’s potential to be multivalent, engaging with the concept in a highly experimental, yet strategic manner. These singular works address Schiele’s various creative concerns as well as the preoccupations of Viennese culture, and they display his capacity to create art that is thoughtful and thought provoking, presenting an unexamined facet of Expressionistic art.
El mundo provocador de Egon Schiele a un siglo de su muerte
Egon Schiele2018 •
Artículo de perfil e investigación sobre el mundo pictórico de Egon Schiele. Publicado en la revista cultural Cartón Piedra del diario nacional El Telégrafo.
This paper is part of a larger project that tries to give to Egon Schiele's oeuvre the place it deserves in what was called by Allan Janik and Stephen Toulmin 'Wittgenstein's Vienna'. We intend to establish certain correlations between Schiele's aesthetic vision and Ludwig Wittgenstein's philosophy. We share the interdisciplinary approach of Janik and Toulmin. Just as they got close to Wittgenstein's philosophical problems by taking into account the historical, philosophical and cultural context to which he belonged, we make use of Schiele's contemporary investigations in different areas of knowledge in order to get a more adequate account of his paintings. Following Wittgenstein's mostly ignored move towards art criticism, we will proceed our investigation through a close analysis and critique of a selection of paintings. Specifically we will be studying Schiele's use of chairs, understanding them as a compositional device of his pictorial language. The aim of this article is to show how his use of chairs illustrates some of the battles fought by his contemporaries. This paper looks closely into the role played by chairs in Egon Schiele's pictorial oeuvre in order to propose certain correlations between his aesthetic vision and that of his contemporaries, especially that of Wittgenstein. We believe that the painter's oeuvre has not been given the place it deserves in what was called by Allan Janik and Stephen Toulmin 'Wittgenstein's Vienna 1 '. We propose that Schiele was on the frontlines of the battle between saying and showing specified by Wittgenstein in the Tractatus Logico-Philosophicus 2 , as much as other figures, such as Adolf Loos, Arnold Schönberg or Karl Kraus, already acknowledged for it 3. Most of the studies on Schiele " s works have been intrinsically linked to biographical interpretations 4 ; furthermore, they have been done from the perspective of Art History and not from Philosophy. This paper, leaving aside his personal life and starting from the self-representation 5 characteristic of all works of art, takes his oeuvre as a whole and analyses it as such: helping ourselves only from what is there in his pieces. We share the approach of Kimberly A. Smith while facing Schiele's landscapes in Between Ruin and Renewal: Egon Schiele's Landscapes 6. By analysing Schiele's paintings, we try to place his oeuvre in his cultural background, starting from the idea that the former is a product of the latter and vice versa. However, on the one hand, we have tried to face the whole of Schiele's oeuvre and not just his landscapes, and, on the other hand, we will study the ethical dimension of his work. In order to do the latter, we will focus on Wittgenstein's philosophy because we consider that its ethical dimension is representative of his contemporaries' ethics. We agree with Smith that Schiele's landscapes have been ignored by the painter's http://dx.doi.org/10.5209/rev_NOMA.2011.v29.n1.267
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.
2011 •
2019 •
2021 •
Revista Española de Geriatría y Gerontología
Comparación del bienestar psicológico de personas mayores dominicanas y españolas2009 •
Gazzettino di Giarre
Via Madrice? in "Gazzettino di Giarre", n. 24, 26 giugno 1999, p. 4.1999 •
Anales de Pediatría
Enfermedad por arañazo de gato con afectación hepatoesplénica2004 •
2014 •
2004 •
Testimonios de una guerra. México 1846 – 1848
San Luis Potosí.2001 •
Revista Latinoamericana de Recursos …
Caracterización geoquímica del medio ambiente en un yacimiento petrolífero cubano. Parte 1: AireInnoeduca. International Journal of Technology and Educational Innovation
Uso de las redes sociales por el alumnado universitario de la Facultad de Educación (Universidad de Extremadura)Clinical Infectious Diseases
Risk of Misinterpretation of Ebola Virus PCR Results After rVSV ZEBOV-GP Vaccination2015 •
Science of The Total Environment
Fine-scale determinants of conservation value of river reaches in a hotspot of native and non-native species diversity2017 •
Romanian Journal of Pediatrics
Recomandări actuale în endoscopia digestivă intervenţională pediatrică2019 •
Journal of Hypertension
Putting a spin on the ambulatory arterial stiffness index2008 •
Frontiers in Molecular Biosciences
The Specific NLRP3 Antagonist IFM-514 Decreases Fibrosis and Inflammation in Experimental Murine Non-Alcoholic Steatohepatitis2021 •