Egon Schiele was an Austrian Expressionist painter and is widely recognised as a major figure in the history of modem art. In this revised edition Simon Wilson explores the influences which helped shape his art. The Austrian painter Egon Schiele is now recognised as a major figure in the history of modern art and in the development of the Expressionist movement. He was only 28 when he died in 1918, yet in his short life he produced a remarkable series of intense and powerful images, and although dogged by unfounded accusations of pornography he pursued his vocation as an artist with uncompromising intensity, giving expression to his most powerful feelings with an anguished honesty. In this recently revised book, Simon Wilson explores Schiele's obsession with sex, life and death, which gave rise to his famous female nudes and nude self-portraits, and examines his vision of the artist in society, and his work as a landscape and portrait painter.
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Egon Schiele (b. 1890, Tullin, Austria; d. 1918 Vienna) is now recognized as a major figure in the development of the Expressionist movement. In 1906, he enrolled in the Akademie der Bildenden Künste in Vienna, but felt frustrated with the school's conservatism. He left the Akademie in 1909 to found Neukunstgruppe with several other students. In 1907, he befriended fellow artist Gustav Klimt, as well as several collectors who encouraged his work. In 1911, Schiele left Vienna and the following year he was jailed for 24 days on account of "immortality and seduction" for hanging nude portraits in his home visible to a passerby and employing young girls as models. He died at the young age of 28 on Halloween night in 1918, the victim of influenza.
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Simon Wilson is an art historian and former curator of the Tate Gallery in London.
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2 of 7 people found the following review helpful:
5.0 out of 5 stars
Getting a lot in 80 pages.,
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This review is from: Egon Schiele (Paperback)
This book is an ideal size for my art collection. Big books are heavy, and knowing that I can find every picture that is still known of a particular artist takes some of the excitement out of seeing what is on the next page. Some of the early pages, and even worse, plates 62 and 63, have pictures in black and white, which isn't the way I expect to see them, because I know they have been robbed of the original color. The list of plates numbers 73, which is a fair number for 80 pages. The Contents lists 8 topics, all of which are interesting enough, and "The Artist and Society" was particularly a problem for Egon Schiele. I think the most is packed into those seven pages, which includes pictures of Lovers 1911, Self-Portrait 1912, Agony 1912, Nude Black-Haired Girl Standing 1910, Prisoner! 24 April 1912, Cardinal and Nun 1912, Hindering the Artist is a Crime, It Is Murdering Life in the Bud! 23 April 1912, For my Art and for My Loved Ones I will Gladly Endure to the End! 25 April 1912, and Fighter 1913. I relate most strongly to the (in prison)autobiographical portraits, and I'm disappointed that Self-Portrait with Hand to Cheek 1918 is not in color on page 27, but the explanation on the following page is good, even if it mentions his critics: "Alessandra Comini has put forward the convincing explanation that, whatever else it may mean, the gesture is a punning reference to the artist's name: in German the verb schielen means to squint, and apparently a number of hostile critics used this correspondence to make sarcastic jokes about Schiele's eyesight." (p. 28) Plate 72 is a late portrait which I have seen in an art museum, exhibited with other paintings. The paint covers the canvas and it is signed, Egon Schiele 1918, the year of Schiele's death, but the final comment of this book is "This, the most painterly of all his late works, is a final, monumental statement of Schiele's vision of the artist. It was left unfinished at his death." It is not clear from the picture what more he might have done, and he previously had left things out. If he was going to finish anything, I think he should have given the Black-Haired Girl Standing in 1910 a right elbow.
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