When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczek, also a railway official. 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.
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. In , 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.
Schiele's earliest works between and contain strong similarities with those of Klimt, as well as influences from Art Nouveau. In Schiele had his first exhibition, in Klosterneuburg. Schiele left the Academy in , 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. Wikipedia article References Wikipedia article. Wikipedia: en. Egon Schiele Artworks. Two Little Girls Egon Schiele Portrait of Valerie Neuzil Egon Schiele Fighter Egon Schiele Woman in Black Stockings Egon Schiele His sharply drawn angular lines and combination of color signify him as an early champion of Austrian Expressionism , which rejected typical conventions of beauty and introduced ugliness and exaggerated emotion into art.
Born in to a station master for a father, Schiele grew up around the railway and locomotives, which became an early influence on his passion for art.
As a young boy, he was fascinated by trains and would spend many hours drawing them. He was so absorbed in his sketching that his father, frustrated that his son wasn't interested in pursuing the same career path, ended up destroying his sketchbooks.
When his father died, Schiele was 15 and he was taken in by his maternal uncle who also worked on the railways. He and some other dissatisfied students, including artists Oskar Kokoschka and Max Oppenheimer founded the Neukunstgruppe, or New Art Group, and held numerous exhibitions together over the years. Gustav Klimt was a willing mentor of young artists, and took a particular interest in Schiele after he approached him in Like Schiele, Klimt also came under fire during his career for pornographic elements in his art.
The two went on to share a lifelong mutual appreciation, friendship and, it's rumored, love of the same woman. When Schiele was 21 he met the year-old Walburga Neuzil, known as Wally, who had previously modelled for Klimt. In , Schiele and Wally had moved to the area of Neulengback, where Schiele was arrested for seducing and abducting a young girl. Over a hundred of his drawings were considered inappropriate and seized from his studio, leading to the exhibition of pornographic materials to minors being added to his list of charges.
After spending 21 days in custody, he was eventually only found guilty of the last charge. In her pose and adornment composed from a series of flat patches with gold and silver accents, Gerti's figure is reminiscent of Klimt's works such as Portrait of Adele Bloch-Bauer But unlike the Klimtian predecessor, the image is not so much decorative as static and soft, as if Schiele were casting his sitter in clay.
In addition, Schiele replaced Klimt's richly shimmering, gold-dominated palette with more muted colors, creating an image that appears dried-out, suggestive of decay rather than growth.
Schiele's self-portraits are extraordinary not only for the frequency with which the artist depicted himself, but for the manner in which he did so: eroticized depictions where he often appears in the nude, in highly revealing poses—male self-portraits virtually unparalleled in the history of Western art. In this drawing, the artist has created an intense and almost frightening vision of himself: emaciated, with glowing red eyes, legs deformed and footless, his body fully exposed, yet with his face partially hidden, perhaps suggesting a sense of shame, and in a twisting pose indebted, as many writers have suggested, to the important influence of modern dance.
Characteristic of the Expressionist mode that Schiele was increasingly practicing at this time, he expresses his anxiety through line and contour, and flesh that appears abraded and subjected to harsh elements.
Black chalk, watercolor and gouache on paper - Leopold Museum, Vienna. This is perhaps Schiele's most celebrated self-portrait, and certainly the most storied. In this work, painted during a time in which he was participating in numerous exhibitions, Schiele gazes directly at the viewer, his expression suggesting a confidence in his artistic gifts. Although Schiele deploys less distortion than in other self-portraits, the painting refuses to idealize its subject, featuring scars and other lines characteristic of the contoured manner of the artist's drawing style.
Exhibited in Munich in alongside work by a number of other Expressionist artists, the painting has a companion portrait depicting his lover at the time, Wally Neuzil the Wally portrait was stolen by the Nazis from the home of a Jewish Austrian, only to be returned to Vienna in following a prolonged, twelve-year legal battle. It now serves as a "poster child" for the Leopold Museum in Vienna, which houses the largest Schiele collection in the world.
This rare double portrait, among the most allegorical works in Schiele's oeuvre , shows Schiele and Klimt standing together, nearly as one. As close as the two men were, and for all their similarities, Schiele spent much of his career seeking to break free of Klimt's influence.
In Hermits , both men wear their signature long black caftans, an item of clothing for which Klimt was known, and which Schiele appropriated for his own work, perhaps in tribute. Never one for modesty, Schiele positions Klimt in the background, blind and mostly hidden, as if being consumed by the younger artist. The resulting form evokes the image of a single dark figure, indicating the confident successor Schiele assuming the mantel of the old master.
The hermit motif also evokes Schiele's existential conception of the artist as a figure existing at the margins of society. In this painting, one of Schiele's most complex and haunting works, the female figure, gaunt and tattered, clings to the male figure of death, while surrounded by an equally tattered, quasi-surreal landscape. As elsewhere in his work, in this composition Schiele combines the personal and the allegorical—in this case by turning to a theme deriving from the medieval concept of the Dance of Death that reached its height in 15 th -century German art.
Death and the Maiden was painted around the time Schiele separated from his longtime lover, Wally Neuzil, and several months before he married his new lover, Edith Harms. The painting memorializes the end of his affair with Neuzil, seemingly conveying this separation as the death of true love. Interestingly enough, the manner in which Schiele's figures are nearly consumed by their clothing and abstracted surroundings suggests the portraiture of Klimt, who likewise placed his subjects within indecipherable environments.
Although his art centered on the human figure, Schiele—who had occasion to travel throughout Europe during his career—was also drawn to the land and cities.
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