Multitudes
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Egon Schiele and Calvin Klein
nymag.com
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Live Streaming... The F/W 2025.26 Fashion Shows
New York Fashion Week F/W 2025.26 Show Schedule
Egon Schiele: An Artist's Midnight Soul...
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Multitudes
Of a bastard line.
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Egon Schiele and Louis Vuitton
Marc jacobs for Louis Vuitton, Fall/Winter 2005-06
style.com
Standing Woman in Green Shirt(1914)
Marc jacobs for Louis Vuitton, Fall/Winter 2005-06
style.com
Standing Woman in Green Shirt(1914)
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Multitudes
Of a bastard line.
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Egon Schiele and Derek Lam
Derek Lam, fall 2004
style.com
Portrait of a Woman with Black Hat(Gertrude Schiele)(1909)
Portrait of the Painter Max Oppenheimer(1910)
Derek Lam, fall 2004
style.com
Portrait of a Woman with Black Hat(Gertrude Schiele)(1909)
Portrait of the Painter Max Oppenheimer(1910)
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Multitudes
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Egon Schiele and Akris
Albert Kriemler for Akris, Fall/Winter 2005
style.com
Seated Woman with Bent Knee(1917)
Albert Kriemler for Akris, Fall/Winter 2005
style.com
Seated Woman with Bent Knee(1917)
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Multitudes
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Egon Schiele and Nina Ricci
Seated Woman in Underwear, Back View(1917)
Wally in Red Blouse with Raised Knees(1913)
Seated Woman in Underwear, Back View(1917)
Wally in Red Blouse with Raised Knees(1913)
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MissMagAddict
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Nina Ricci F/W 2005
images from vlada's thread tFS
images from vlada's thread tFS
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This is brilliant Multitudes...
I always enjoying reading and seeing what inspires an artist or designer. Thank you also for the info on the book. While searching I found an article from The New York Times about the Neue Galerie's exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections" from 2005. Although it is not really that favourable towards Schiele it might provoke some discussion.
October 21, 2005
Art Review
The Wider, Not Wilder, Egon Schiele
By Ken Johnson
The Viennese Expressionist Egon Schiele (1890-1918) had only two urgent interests: himself and his sexual fantasies. Out of such limited preoccupations and by means of a preternatural gift for drawing and graphic design, he created artworks that still burn with narcissistic yearning, erotic desire, bohemian dissent and existential anxiety.
Since the revival in the early 1970's of his dormant reputation, he has been esteemed by fine-art lovers as one of the 20th century's great draftsmen and he has been a romantic hero to generations of young people raised on sex, drugs and rock 'n' roll who would not know a Monet from a Manet.
Schiele did other things besides self-portraits and sexy pictures of young women. He made wonderful portraits of friends, relatives and lovers, painted gloomy landscapes in an amalgam of Modernist and medieval styles, and concocted lugubrious, overwrought allegories of life, love and death. But were it not for the self-portraits and erotic pictures on paper, his name would be forgotten today.
That is why the Neue Galerie's exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections" is, though an excellent production, in certain ways disappointing - because it gives too evenhanded an overview of Schiele's life and oeuvre. Organized by Renée Price, the Neue Galerie's director, it presents the Schiele holdings of the two collectors who founded the museum, Mr. Lauder and Mr. Sabarsky. The show is full of wonderful pictures, but because many of the 150 or so works on view are more biographically significant than aesthetically and psychologically gripping, Schiele seems a less exciting artist than he was at his best and most provocative - which is to say at his narrowest. There are exercises made before 1910, when Schiele was a talented teenage art student; drawings from 1912 made during a short, painful stay in prison; portraits of his in-laws; and images of fellow soldiers and landscapes from his easy stint in the Austrian Army. Informative though it may be, little of this material is very memorable.
On the other hand, though the collections do not focus on Schiele's wilder side, Mr. Lauder and Mr. Sabarsky didn't shy away from it. The show includes images of women masturbating and making love to each other - two of Schiele's favorite motifs. And Humbert Humbert would die for a watercolor from 1911 that offers the view of a girl lying face down, with her vibrantly striped skirt opened up like a flower to expose her naked buttocks and pudenda. (Many of Schiele's drawings play hide-and-seek with female genitalia.)
Was Schiele a pornographer? In some sense he surely was making art with the purpose of provoking sexual arousal - in addition to shocking the bourgeoisie - and there were people who purchased his work with that purpose in mind, so the answer is yes. (There is also enough evidence to get him charged, if not convicted, as a pedophile by today's standards.) But there have been few pornographers who drew as well as he did. At his best, Schiele was in Toulouse-Lautrec's league as a draftsman. His ways with composition, line and color and his responsiveness to paper were nothing short of exquisite.
Unlike Toulouse-Lautrec, however, Schiele takes little interest in women as people. Women for Schiele are almost always archetypal; in portraits they have severe, masklike faces; in full-figure drawings they are interchangeable objects of desire. There is a certain pathos to his depiction of women, as there is in his portrayal of himself. The body may be a source of ecstatic pleasure, but it can also be an affliction to be endured - see, for example, the studies of nude pregnant women made in a maternity hospital. There is often something overripe in his female figures, as though the body were a barometer of moral degeneration.
In self-portraits Schiele glamorizes himself, exaggerating his soulful eyes, his lithe and skinny body, his long, prehensile fingers, his high forehead and his mass of standing-up hair. He grimaces and gestures dramatically; in some cases - haloed as he is by touches of white gouache, so that he seems to radiate electric energy - he looks positively satanic. He never looks very healthy. He has the emaciated, fiercely hungry look of a spirit starved by the industrial brutality of modernity.
Rumors of unwholesomeness dogged Schiele's posthumous career. A catalog essay by Jane Kallir, granddaughter of Otto Kallir, the Viennese immigrant who founded the Galerie St. Etienne in New York and worked tirelessly to promote Schiele in the United States, notes that American dealers and curators around World War II had to contend not only with anti-German sentiment (Americans did not see the difference between Germans and Austrians), but also had to be careful about how they handled the most sexually graphic work, lest Schiele be branded a pornographer.
Then there was the issue of Schiele's personal life: his interest in underage girls who often modeled for him, and his arrest and 24-day imprisonment in 1912 on charges - eventually dropped - of abducting and molesting a 13-year-old girl. The catalog is circumspect about Schiele's personal life, but the myth of his transgressive predilections remains intact.
Along these lines, a curious chapter in the catalog by Ms. Price updates Schiele's cultural currency by showing, mostly in pictures, the influence of his work and his persona on various contemporary artists and entertainers, including Nan Goldin and David Bowie. Photographic comparisons make it appear as though Schiele had been separated at birth from stars like James Dean and Sid Vicious.
The brevity of Schiele's life adds to the popular fantasy of the outlaw who lived fast and died young. His career lasted only about eight years, from around 1910, when at age 20 he suddenly found his own vision, until his sudden death by flu in the pandemic of 1918. He was not neglected during that time, however. As a student, one of his mentors was Gustav Klimt, the dean of Viennese Modernism, and as a young professional he was included in important group shows in Vienna and elsewhere in Europe. His drawings sold well to discerning collectors, and a solo show at the Vienna Secession just months before he died was a critical and financial success. Moreover, he was a dandy with a taste for well-made American shoes and a keen awareness of the cut of his silhouette, as photographs of him in the exhibition prove. So the myth of Schiele as a sacrificial outcast who died to rid the world of its moral hypocrisy does not tell the whole story.
But it is certainly true that Schiele was most alive as an artist in his provocative explorations of his own body and those of young women. He was no van Gogh, who could lavish the same loving attentiveness on anything from an old boot to the village postman's wife. Schiele's interests were perversely limited - like, some might say, those of a fellow Viennese, Sigmund Freud. In the Neue Galerie exhibition, they blossom like hothouse orchids among the less exotic specimens.
nytimes.com
I always enjoying reading and seeing what inspires an artist or designer. Thank you also for the info on the book. While searching I found an article from The New York Times about the Neue Galerie's exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections" from 2005. Although it is not really that favourable towards Schiele it might provoke some discussion.October 21, 2005
Art Review
The Wider, Not Wilder, Egon Schiele
By Ken Johnson
The Viennese Expressionist Egon Schiele (1890-1918) had only two urgent interests: himself and his sexual fantasies. Out of such limited preoccupations and by means of a preternatural gift for drawing and graphic design, he created artworks that still burn with narcissistic yearning, erotic desire, bohemian dissent and existential anxiety.
Since the revival in the early 1970's of his dormant reputation, he has been esteemed by fine-art lovers as one of the 20th century's great draftsmen and he has been a romantic hero to generations of young people raised on sex, drugs and rock 'n' roll who would not know a Monet from a Manet.
Schiele did other things besides self-portraits and sexy pictures of young women. He made wonderful portraits of friends, relatives and lovers, painted gloomy landscapes in an amalgam of Modernist and medieval styles, and concocted lugubrious, overwrought allegories of life, love and death. But were it not for the self-portraits and erotic pictures on paper, his name would be forgotten today.
That is why the Neue Galerie's exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections" is, though an excellent production, in certain ways disappointing - because it gives too evenhanded an overview of Schiele's life and oeuvre. Organized by Renée Price, the Neue Galerie's director, it presents the Schiele holdings of the two collectors who founded the museum, Mr. Lauder and Mr. Sabarsky. The show is full of wonderful pictures, but because many of the 150 or so works on view are more biographically significant than aesthetically and psychologically gripping, Schiele seems a less exciting artist than he was at his best and most provocative - which is to say at his narrowest. There are exercises made before 1910, when Schiele was a talented teenage art student; drawings from 1912 made during a short, painful stay in prison; portraits of his in-laws; and images of fellow soldiers and landscapes from his easy stint in the Austrian Army. Informative though it may be, little of this material is very memorable.
On the other hand, though the collections do not focus on Schiele's wilder side, Mr. Lauder and Mr. Sabarsky didn't shy away from it. The show includes images of women masturbating and making love to each other - two of Schiele's favorite motifs. And Humbert Humbert would die for a watercolor from 1911 that offers the view of a girl lying face down, with her vibrantly striped skirt opened up like a flower to expose her naked buttocks and pudenda. (Many of Schiele's drawings play hide-and-seek with female genitalia.)
Was Schiele a pornographer? In some sense he surely was making art with the purpose of provoking sexual arousal - in addition to shocking the bourgeoisie - and there were people who purchased his work with that purpose in mind, so the answer is yes. (There is also enough evidence to get him charged, if not convicted, as a pedophile by today's standards.) But there have been few pornographers who drew as well as he did. At his best, Schiele was in Toulouse-Lautrec's league as a draftsman. His ways with composition, line and color and his responsiveness to paper were nothing short of exquisite.
Unlike Toulouse-Lautrec, however, Schiele takes little interest in women as people. Women for Schiele are almost always archetypal; in portraits they have severe, masklike faces; in full-figure drawings they are interchangeable objects of desire. There is a certain pathos to his depiction of women, as there is in his portrayal of himself. The body may be a source of ecstatic pleasure, but it can also be an affliction to be endured - see, for example, the studies of nude pregnant women made in a maternity hospital. There is often something overripe in his female figures, as though the body were a barometer of moral degeneration.
In self-portraits Schiele glamorizes himself, exaggerating his soulful eyes, his lithe and skinny body, his long, prehensile fingers, his high forehead and his mass of standing-up hair. He grimaces and gestures dramatically; in some cases - haloed as he is by touches of white gouache, so that he seems to radiate electric energy - he looks positively satanic. He never looks very healthy. He has the emaciated, fiercely hungry look of a spirit starved by the industrial brutality of modernity.
Rumors of unwholesomeness dogged Schiele's posthumous career. A catalog essay by Jane Kallir, granddaughter of Otto Kallir, the Viennese immigrant who founded the Galerie St. Etienne in New York and worked tirelessly to promote Schiele in the United States, notes that American dealers and curators around World War II had to contend not only with anti-German sentiment (Americans did not see the difference between Germans and Austrians), but also had to be careful about how they handled the most sexually graphic work, lest Schiele be branded a pornographer.
Then there was the issue of Schiele's personal life: his interest in underage girls who often modeled for him, and his arrest and 24-day imprisonment in 1912 on charges - eventually dropped - of abducting and molesting a 13-year-old girl. The catalog is circumspect about Schiele's personal life, but the myth of his transgressive predilections remains intact.
Along these lines, a curious chapter in the catalog by Ms. Price updates Schiele's cultural currency by showing, mostly in pictures, the influence of his work and his persona on various contemporary artists and entertainers, including Nan Goldin and David Bowie. Photographic comparisons make it appear as though Schiele had been separated at birth from stars like James Dean and Sid Vicious.
The brevity of Schiele's life adds to the popular fantasy of the outlaw who lived fast and died young. His career lasted only about eight years, from around 1910, when at age 20 he suddenly found his own vision, until his sudden death by flu in the pandemic of 1918. He was not neglected during that time, however. As a student, one of his mentors was Gustav Klimt, the dean of Viennese Modernism, and as a young professional he was included in important group shows in Vienna and elsewhere in Europe. His drawings sold well to discerning collectors, and a solo show at the Vienna Secession just months before he died was a critical and financial success. Moreover, he was a dandy with a taste for well-made American shoes and a keen awareness of the cut of his silhouette, as photographs of him in the exhibition prove. So the myth of Schiele as a sacrificial outcast who died to rid the world of its moral hypocrisy does not tell the whole story.
But it is certainly true that Schiele was most alive as an artist in his provocative explorations of his own body and those of young women. He was no van Gogh, who could lavish the same loving attentiveness on anything from an old boot to the village postman's wife. Schiele's interests were perversely limited - like, some might say, those of a fellow Viennese, Sigmund Freud. In the Neue Galerie exhibition, they blossom like hothouse orchids among the less exotic specimens.
nytimes.com
ultramarine
chaos reigns
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OMG!!
I had never seen his work!
I had heard about him but MY!
Nina Ricci's campaign was very literal about the references to him ... I love how Schieles uses this very sober palette .. and on most of the paintings it seems so etherial its like watercolors ... love it!
I had never seen his work!
I had heard about him but MY!
Nina Ricci's campaign was very literal about the references to him ... I love how Schieles uses this very sober palette .. and on most of the paintings it seems so etherial its like watercolors ... love it!
MissMagAddict
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The Scent of Art
This is an excerpt (the Schiele part) from a long article about The Lauder Brothers and their art collecting. If you're interested in reading the entire article go to: http://www.upenn.edu/gazette/0998/macafee.html.
Lauder and Schiele go back a long way, to the beginning of Lauder's career as a collector. "When I was twelve years old," he says, "I absolutely fell in love with the work of Egon Schiele. The thrill I first had looking at his work I still feel today." As he speaks I notice two Schieles on his office walls. Our eyes light up. "When I was 13 or 14, someone told me about a Schiele self-portrait that was for sale for $10,000." He happened to have that amount from bar mitzvah gifts in his bank account. "I still remember the excitement of making that first purchase. I'm sure my relatives and friends would have been shocked to see how I'd used the money they gave me for my bar mitzvah. But, I've never regretted it." It was a prescient purchase: A similar work recently sold at Sotheby's for $1.6 million.
Ronald Lauder now owns more than 20 Schiele's...
...
This is an excerpt (the Schiele part) from a long article about The Lauder Brothers and their art collecting. If you're interested in reading the entire article go to: http://www.upenn.edu/gazette/0998/macafee.html.
Lauder and Schiele go back a long way, to the beginning of Lauder's career as a collector. "When I was twelve years old," he says, "I absolutely fell in love with the work of Egon Schiele. The thrill I first had looking at his work I still feel today." As he speaks I notice two Schieles on his office walls. Our eyes light up. "When I was 13 or 14, someone told me about a Schiele self-portrait that was for sale for $10,000." He happened to have that amount from bar mitzvah gifts in his bank account. "I still remember the excitement of making that first purchase. I'm sure my relatives and friends would have been shocked to see how I'd used the money they gave me for my bar mitzvah. But, I've never regretted it." It was a prescient purchase: A similar work recently sold at Sotheby's for $1.6 million.
Ronald Lauder now owns more than 20 Schiele's...
...Multitudes
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Thank you very much for the articles ... and you found the Nina Ricci Ad. , which I was not able to! 
...
... and you found the Nina Ricci Ad. , which I was not able to! ...
MissMagAddict
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Neue Galerie Auctions Schieles to Pay for $135 Million Klimt
Oct. 30 -- Neue Galerie New York, a German and Austrian art museum founded by the cosmetics mogul Ronald S. Lauder and the art dealer Serge Sabarsky, is selling three artworks at auction to help pay for its recent record-breaking acquisition of Gustav Klimt's "Adele Bloch-Bauer I.''
On Nov. 8 at Christie's New York, the museum will offer two watercolors and an oil painting by Austrian artist Egon Schiele, estimated to fetch as much as $45 million total.
"There are three works by Egon Schiele that are being sold by the Neue Galerie with the approval of our board,'' said the museum's deputy director, Scott Gutterman, reading a statement over the phone, "to facilitate the recent purchase of 'Adele Bloch-Bauer I.'''
Auction funds will be applied toward the cost of the museum's new, gold-encrusted Klimt, which Lauder dubbed the "Mona Lisa'' of German and Austrian art. The price was not confirmed, but a $135 million figure appeared in articles attributed to anonymous sources. It was reported to be the highest price ever paid for an artwork.
Selling or "deaccessioning'' artwork by a museum is widely considered acceptable only if the resulting funds are used to purchase art that would improve an institution's collection.
The Klimt was sold by the family who had recently won it -- and four other Klimt paintings, also being auctioned on Nov. 8 at Christie's New York -- following a protracted Holocaust restitution lawsuit against the Austrian government.
Works Recently Shown
The three Schieles were included in an Egon Schiele exhibition held at the Neue Galerie from October 2005 to February 2006. "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections'' drew from just those two sources. The three works now on offer were identified in the show's catalog only as belonging to a private collection.
The Neue Galerie is not mentioned as the seller of the Schieles in the Christie's catalog.
The 1915 oil painting titled "Einzelne Hauser (Hauser mit Bergen)'' is the most expensive of the group, estimated to sell for as much as $30 million. Christie's auction catalog identifies the location of the landscape as Krumau, the artist's mother's hometown in the Czech Republic. The artist lived there briefly, and was unpopular for his bohemian lifestyle. He didn't attend church, lived with his lover and was suspected of painting local girls in the nude.
The current auction record for Schiele was set in June at Christie's London, where a 1914 still life of flowers sold for $21.8 million to an anonymous buyer.
The Neue Galerie artworks are just a small part of Christie's Nov. 8 Impressionist and Modern art auction. The evening portion of the sale is expected to fetch as much as $488 million. The current record for an auction is held by Sotheby's New York with a $286 million total realized in May 1990.
bloomberg.com
Oct. 30 -- Neue Galerie New York, a German and Austrian art museum founded by the cosmetics mogul Ronald S. Lauder and the art dealer Serge Sabarsky, is selling three artworks at auction to help pay for its recent record-breaking acquisition of Gustav Klimt's "Adele Bloch-Bauer I.''
On Nov. 8 at Christie's New York, the museum will offer two watercolors and an oil painting by Austrian artist Egon Schiele, estimated to fetch as much as $45 million total.
"There are three works by Egon Schiele that are being sold by the Neue Galerie with the approval of our board,'' said the museum's deputy director, Scott Gutterman, reading a statement over the phone, "to facilitate the recent purchase of 'Adele Bloch-Bauer I.'''
Auction funds will be applied toward the cost of the museum's new, gold-encrusted Klimt, which Lauder dubbed the "Mona Lisa'' of German and Austrian art. The price was not confirmed, but a $135 million figure appeared in articles attributed to anonymous sources. It was reported to be the highest price ever paid for an artwork.
Selling or "deaccessioning'' artwork by a museum is widely considered acceptable only if the resulting funds are used to purchase art that would improve an institution's collection.
The Klimt was sold by the family who had recently won it -- and four other Klimt paintings, also being auctioned on Nov. 8 at Christie's New York -- following a protracted Holocaust restitution lawsuit against the Austrian government.
Works Recently Shown
The three Schieles were included in an Egon Schiele exhibition held at the Neue Galerie from October 2005 to February 2006. "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections'' drew from just those two sources. The three works now on offer were identified in the show's catalog only as belonging to a private collection.
The Neue Galerie is not mentioned as the seller of the Schieles in the Christie's catalog.
The 1915 oil painting titled "Einzelne Hauser (Hauser mit Bergen)'' is the most expensive of the group, estimated to sell for as much as $30 million. Christie's auction catalog identifies the location of the landscape as Krumau, the artist's mother's hometown in the Czech Republic. The artist lived there briefly, and was unpopular for his bohemian lifestyle. He didn't attend church, lived with his lover and was suspected of painting local girls in the nude.
The current auction record for Schiele was set in June at Christie's London, where a 1914 still life of flowers sold for $21.8 million to an anonymous buyer.
The Neue Galerie artworks are just a small part of Christie's Nov. 8 Impressionist and Modern art auction. The evening portion of the sale is expected to fetch as much as $488 million. The current record for an auction is held by Sotheby's New York with a $286 million total realized in May 1990.
bloomberg.com
MissMagAddict
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University of Minnesota's Fifth National Print Biennial
Even in this age of instant images, old-fashioned printmaking remains among the most intimate and appealing of art forms. Drawn on a lithographic stone, chemically etched onto a scratched metal plate, or gouged into a slab of wood, fine-print images carry the mark of the artist's hand and communicate in a directly personal way.
For arresting impact, Dirk Hagner's woodcut portrait of Austrian artist Egon Schiele is a stellar piece at the show's entrance. Designed like an Asian scroll with brocade fabric framing its head and foot, the life-size woodcut depicts the gaunt artist staring over his right shoulder on a sunny day. Schiele's blazing white shirt and narrow face are executed with vigorous gouge marks while Hagner lets the wood's natural grain provide texture to the artist's black pants.
In his 5-foot-tall woodcut portrait of the Austrian artist Egon Schiele,
Dirk Hagner uses gouge marks to suggest sunlight on the pants pockets
and lets the wood grain give texture to the trouser legs.
startribune.com
Even in this age of instant images, old-fashioned printmaking remains among the most intimate and appealing of art forms. Drawn on a lithographic stone, chemically etched onto a scratched metal plate, or gouged into a slab of wood, fine-print images carry the mark of the artist's hand and communicate in a directly personal way.
For arresting impact, Dirk Hagner's woodcut portrait of Austrian artist Egon Schiele is a stellar piece at the show's entrance. Designed like an Asian scroll with brocade fabric framing its head and foot, the life-size woodcut depicts the gaunt artist staring over his right shoulder on a sunny day. Schiele's blazing white shirt and narrow face are executed with vigorous gouge marks while Hagner lets the wood's natural grain provide texture to the artist's black pants.
In his 5-foot-tall woodcut portrait of the Austrian artist Egon Schiele,
Dirk Hagner uses gouge marks to suggest sunlight on the pants pockets
and lets the wood grain give texture to the trouser legs.
startribune.com
MissMagAddict
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From Dirk Hagner's Website
Egon Schiele woodcut 58 x 30 inches hand printed on washi
Austrian artist Egon Schiele was born in 1890 and was a student of Gustav Klimt.
He became a victim of the 1918 flu pandemic and died very young.
He was nevertheless one of the most prolific painters and influential graphic artists of his time.
The woodcut employed here is in printmaking called a relief printing process.
The woodblock measures about 56 inches tall.
dirkhagner.com
Egon Schiele woodcut 58 x 30 inches hand printed on washi
Austrian artist Egon Schiele was born in 1890 and was a student of Gustav Klimt.
He became a victim of the 1918 flu pandemic and died very young.
He was nevertheless one of the most prolific painters and influential graphic artists of his time.
The woodcut employed here is in printmaking called a relief printing process.
The woodblock measures about 56 inches tall.
dirkhagner.com
Last edited by a moderator:
MissMagAddict
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Three Schiele's Up For Auction at Christies Nov. 8th, 2006
Egon Schiele (1890-1918)
Kniender Halbakt nach links gebeugt
signed and dated 'EGON SCHIELE 1917' (lower center)
gouache, watercolor and black crayon on paper
11¾ x 18 1/8 in.
Estimate 6,000,000-8,000,000 U.S. Dollars
"I want to start anew. It seems to me that until now I have just been preparing the tools." (quoted in C. M. Nebehay, ed,. Egon Schiele (1890-1918
Leben, Briefe, Gedichte, Vienna, 1979, no. 1170).
Kniender Halbakt nach links gebeugt (Kneeling half-nude bending to the left) is an exquisite and accomplished gouache from 1917 that reflects the mastery of both subject and medium that Schiele had attained by this time and the new direction he was now taking with his art. It is one of a small group of exceptional female nudes (figs. 1 and 2) that Schiele painted in 1917 in which the overt eroticism of his earlier work and the sharp trembling energy of his former needle-like line has been toned down in favor of a more objective concentration on the human figure as a complex but expressive force of nature. The way in which the balletic and rounded female figure, bends awkwardly in an extreme and highly expressive pose to contrast with, and articulate, the emptiness of the blank page is symptomatic of Schiele's new work.
Kniender Halbakt nach links gebeugt belongs to a unique group of masterful drawings from this period in which the pictorial contrast between the void of the page and the earthy, sculptural and, for Schiele, surprisingly material forms of the nude figure is of paramount importance. Among these gouaches are a number of works depicting clearly horizontal poses on which Schiele has placed his monogrammatic signature in such a way as to suggest that the work be read vertically. This somewhat unorthodox decision by the artist to deny the order of nature and the pull of gravity on his figures probably reflects that it was not simple naturalism that he sought in these nudes. It was the use of the female form as a vehicle by which to express a wider and more abstract understanding of nature as a vital and existential phenomenon, as an animate and procreative presence. Certainly, the rhythm of outline, painterly form and empty unpainted void is more dramatic when these 'rotated' works are read in the way the artist intended. The blank space of the picture seeming to play as important a role as the carefully modelled painted forms.
As with his paintings of trees and plants set against a vast empty background, what appears to interest Schiele in Kniender Halbakt nach links gebeugt--which, with its extraordinary horizontal pose has no need of the 'rotation' he bestowed on other works--is the stark contrast between the full physical, living, breathing, animate form of the body and the blank emptiness of the background. The subtle, cool tones of the skin, flushed cheeks and the gentle articulation of the bones under the skin all combine with the rich clear outline of the woman's form to convey a powerful sense of a unique and isolated living human presence. Schiele's sublime command over his materials now requires no help from the excessive gesture, distortion, forced emphasis or white-painted highlights that distinguished the fervor and Expressionism of his earlier work. Here, set against an empty paper background, Schiele's soft crayon outline and assured and confident modeling magically bring to life an existential portrait of a female figure who seems born both to and from the page within which she is confined.
This gouache is no individualized portrait however, in the way that, for example, many of Schiele's earlier drawings of nudes had been. It is strictly the living nature of the human form that Schiele appears interested in here, not the individuality or inner psychology of the figure that intrigues as it was, for example, in so many of his portraits of 1910 and 1911. The model Schiele used for this work is unknown. It is probably a professional model whom Schiele is known to have used as the source for several drawings and one or two major paintings during the first part of 1917. By the summer of that year, Schiele's financial situation had radically transformed and he was able for the first time to set up a harem of models in his studio in the manner of that of his great hero Gustav Klimt. Preceding this, in the first part of the year Schiele seems to have repeatedly used a lone professional model or, more often than not, his wife Edith and his sister-in-law Adele Harms. Edith and Adele appear frequently in his work of 1917, and Adele is another possible source for this work. Schiele often obscured or intermingled the features of the two sisters largely for the sake of his wife's modesty. Edith Schiele was at once both jealous of her husband's models and naturally shy. While she therefore preferred to sit for her husband herself, she had no desire to be recognized as a sitter of his pictures, especially when it was often given to her to deliver his works to their respective buyers and patrons. Adele Harms, Edith's sister, who later claimed to be having an affair with Schiele at this time, though she was a notoriously unreliable witness to events and also made claims of being "really a nun!", was the darker-haired of the two sisters and more closely resembles the figure in Kniender Halbakt nach links gebeugt. It is possible, but nonetheless unlikely, that she is the source that Schiele used for what in the end is essentially a generic female figure.
Kniender Halbakt nach links gebeugt belongs to a series of drawings of a half-nude woman semi-dressed in her underlinen that stand among the finest of his works executed in 1917 and are a match for any of his earlier drawings. With maturity, Schiele's art had gained an assured mastery and command often at the expense of much of the neurotic fervor and erotic energy of his earlier and more self-evidently youthful work. In the finest of the series of drawings to which Kniender Halbakt nach links gebeugt belongs however, Schiele attained new heights merging his more clinical interest in the shape, form and volume of the figure with a tenderness and suffused eroticism that renders the female form as a splendor of nature. In his command of his subject and in the way that the twisting and bending body of this woman is articulated as a horizontal form stretching across the blank background of the page, Schiele captures the same sinuous eroticism as is expressed in Giovanni Segantini's 1894 masterpiece Le cattive madrir (fig. 3). Schiele undoubtedly knew this work as it was housed in the Österreichisches Galerie and had caused a sensation in Vienna when it was first shown in the city and subsequently bought by the Secession in 1898. Many of Schiele's early paintings of plants and trees also bear a striking resemblance to the struggling and striving forms of the tree in Segantini's masterpiece. The same vigorous sense of energy and animated form permeates the best of Schiele's 1917 drawings and gouaches, especially the present work where the contorted pose of the figure seems to have been wrought by an inner nature seeking to outwardly express itself through its bodily form.
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Egon Schiele (1890-1918)
Kniender Halbakt nach links gebeugt
signed and dated 'EGON SCHIELE 1917' (lower center)
gouache, watercolor and black crayon on paper
11¾ x 18 1/8 in.
Estimate 6,000,000-8,000,000 U.S. Dollars
"I want to start anew. It seems to me that until now I have just been preparing the tools." (quoted in C. M. Nebehay, ed,. Egon Schiele (1890-1918
Leben, Briefe, Gedichte, Vienna, 1979, no. 1170).Kniender Halbakt nach links gebeugt (Kneeling half-nude bending to the left) is an exquisite and accomplished gouache from 1917 that reflects the mastery of both subject and medium that Schiele had attained by this time and the new direction he was now taking with his art. It is one of a small group of exceptional female nudes (figs. 1 and 2) that Schiele painted in 1917 in which the overt eroticism of his earlier work and the sharp trembling energy of his former needle-like line has been toned down in favor of a more objective concentration on the human figure as a complex but expressive force of nature. The way in which the balletic and rounded female figure, bends awkwardly in an extreme and highly expressive pose to contrast with, and articulate, the emptiness of the blank page is symptomatic of Schiele's new work.
Kniender Halbakt nach links gebeugt belongs to a unique group of masterful drawings from this period in which the pictorial contrast between the void of the page and the earthy, sculptural and, for Schiele, surprisingly material forms of the nude figure is of paramount importance. Among these gouaches are a number of works depicting clearly horizontal poses on which Schiele has placed his monogrammatic signature in such a way as to suggest that the work be read vertically. This somewhat unorthodox decision by the artist to deny the order of nature and the pull of gravity on his figures probably reflects that it was not simple naturalism that he sought in these nudes. It was the use of the female form as a vehicle by which to express a wider and more abstract understanding of nature as a vital and existential phenomenon, as an animate and procreative presence. Certainly, the rhythm of outline, painterly form and empty unpainted void is more dramatic when these 'rotated' works are read in the way the artist intended. The blank space of the picture seeming to play as important a role as the carefully modelled painted forms.
As with his paintings of trees and plants set against a vast empty background, what appears to interest Schiele in Kniender Halbakt nach links gebeugt--which, with its extraordinary horizontal pose has no need of the 'rotation' he bestowed on other works--is the stark contrast between the full physical, living, breathing, animate form of the body and the blank emptiness of the background. The subtle, cool tones of the skin, flushed cheeks and the gentle articulation of the bones under the skin all combine with the rich clear outline of the woman's form to convey a powerful sense of a unique and isolated living human presence. Schiele's sublime command over his materials now requires no help from the excessive gesture, distortion, forced emphasis or white-painted highlights that distinguished the fervor and Expressionism of his earlier work. Here, set against an empty paper background, Schiele's soft crayon outline and assured and confident modeling magically bring to life an existential portrait of a female figure who seems born both to and from the page within which she is confined.
This gouache is no individualized portrait however, in the way that, for example, many of Schiele's earlier drawings of nudes had been. It is strictly the living nature of the human form that Schiele appears interested in here, not the individuality or inner psychology of the figure that intrigues as it was, for example, in so many of his portraits of 1910 and 1911. The model Schiele used for this work is unknown. It is probably a professional model whom Schiele is known to have used as the source for several drawings and one or two major paintings during the first part of 1917. By the summer of that year, Schiele's financial situation had radically transformed and he was able for the first time to set up a harem of models in his studio in the manner of that of his great hero Gustav Klimt. Preceding this, in the first part of the year Schiele seems to have repeatedly used a lone professional model or, more often than not, his wife Edith and his sister-in-law Adele Harms. Edith and Adele appear frequently in his work of 1917, and Adele is another possible source for this work. Schiele often obscured or intermingled the features of the two sisters largely for the sake of his wife's modesty. Edith Schiele was at once both jealous of her husband's models and naturally shy. While she therefore preferred to sit for her husband herself, she had no desire to be recognized as a sitter of his pictures, especially when it was often given to her to deliver his works to their respective buyers and patrons. Adele Harms, Edith's sister, who later claimed to be having an affair with Schiele at this time, though she was a notoriously unreliable witness to events and also made claims of being "really a nun!", was the darker-haired of the two sisters and more closely resembles the figure in Kniender Halbakt nach links gebeugt. It is possible, but nonetheless unlikely, that she is the source that Schiele used for what in the end is essentially a generic female figure.
Kniender Halbakt nach links gebeugt belongs to a series of drawings of a half-nude woman semi-dressed in her underlinen that stand among the finest of his works executed in 1917 and are a match for any of his earlier drawings. With maturity, Schiele's art had gained an assured mastery and command often at the expense of much of the neurotic fervor and erotic energy of his earlier and more self-evidently youthful work. In the finest of the series of drawings to which Kniender Halbakt nach links gebeugt belongs however, Schiele attained new heights merging his more clinical interest in the shape, form and volume of the figure with a tenderness and suffused eroticism that renders the female form as a splendor of nature. In his command of his subject and in the way that the twisting and bending body of this woman is articulated as a horizontal form stretching across the blank background of the page, Schiele captures the same sinuous eroticism as is expressed in Giovanni Segantini's 1894 masterpiece Le cattive madrir (fig. 3). Schiele undoubtedly knew this work as it was housed in the Österreichisches Galerie and had caused a sensation in Vienna when it was first shown in the city and subsequently bought by the Secession in 1898. Many of Schiele's early paintings of plants and trees also bear a striking resemblance to the struggling and striving forms of the tree in Segantini's masterpiece. The same vigorous sense of energy and animated form permeates the best of Schiele's 1917 drawings and gouaches, especially the present work where the contorted pose of the figure seems to have been wrought by an inner nature seeking to outwardly express itself through its bodily form.
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MissMagAddict
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Egon Schiele (1890-1918)
Zwei Mädchen auf einer Fransendecke (recto); Akt eines stehenden Knaben, Kniestück (verso)
Signed and dated 'EGON SCHIELE JULI, 1911.' (lower left)
Estimate 5,000,000-7,000,000 U.S. Dollars
"Among the moderns, there are few who have succeeded so impressively in depicting not only the greatness of sex, but also its frightening and vampire-like aspects" (Ulrich Brendel, writing on Egon Schiele in Die Aktion, 1916 quoted in Christian M. Nebehay, Egon Schiele 1890-1918 Leben, Briefe, Gedichte Vienna, 1979, p. 171).
In this magnificent watercolor of two girls lying entwined together on a fringed blanket, Schiele powerfully captures and conveys that peculiar mixture of innocence, naiveté and sexual awareness that accompanies adolescence. Cocooned in a vulva-shaped blanket, these two seemingly malnourished, pallid and vaguely vampiric-looking girls stare back at the viewer with startling and defiant looks of assurance that belie their age.
Schiele was clearly fascinated with this transitionary stage in human development, seeing in it, rather like Frank Wedekind in his provocative play Spring's Awakening, a clear exposure of an instinctive and as yet unrepressed sexuality (fig. 1). Between 1910 and 1911 Schiele painted and drew young women with recurring frequency. He did so not merely because these were among the cheapest models to be found, but because their relaxed, unselfconscious and uninhibited behavior allowed him to observe the true nature of man stripped of all the regularity, pretense and convention Imperial Viennese society demanded (fig. 2). As his friend Paris von Gütersloh recalled of Schiele's working practice at this time,
"There were always two or three smaller or larger girls in the studio; girls from the neighborhood, from the street, solicited in nearby Schönbrunn Park, some ugly, some attractive, some washed, but also some unwashed. They sat around doing nothing... Well, they slept, recovered from parental beatings, lolled about lazily (which they were not allowed to do at home), combed... their closely cropped or tangled hair, pulled their skirts up or down, tied or untied their shoelaces. And all this they did--if one can call that doing something--because they were left to themselves like animals in a comfortable cage, or so they perceived it... They feared nothing from the paper that lay next to Schiele on the sofa, and the young man was always playing with the pencil or the brush... Suddenly, although he didn't appear to have been paying attention at all, he would say very softly ... 'stop!' And now, as if under a spell of his magic, they froze as they were--lying, standing, kneeling, relaxing, tying or untying, pulling down or up, combing themselves or scratching themselves--as though they had been banished to timelessness or covered with lava, and then in a twinkling, brought back to life. That is the immortal moment in which the transitory is transformed into the eternity of art" (quoted in Gustav Klimt- Egon Schiele: Zum Gedächtnis ihres Todes vor 50 Jahren, exh. cat. Vienna; Graphische Sammlung Albertina, 1968).
Zwei Mädchen auf einer Fransendecke (Two girls on a Fringed Blanket) was painted in July 1911 during Schiele's sojourn in the small rural town of Krumau. There, lacking the wayward street life of Vienna that had provided him with his regular supply of street urchins, he began to paint a diverse group of the local children who seemed drawn to the eccentric stranger in their midst. "The children call me 'Lord God Painter' he proudly announced, because 'I go around the garden in a smock." (quoted in C. M. Nebehay, Egon Schiele 1890-1918 Leben, Briefe, Gedichte Vienna, 1979. no. 217) As his friend, patron and biographer Arthur Roessler recalled "for months on end [Schiele] was occupied with drawing and painting working-class children. He was fascinated by the ravages of dirty sufferings to which these innocents are exposed...in amazement he saw the light-shy green eyes behind the red inflamed lids, the scrofulous wrists...and the souls inside these bad vessels' (in "Egon Schiele," Bildende Kunst, vol. I, no. 3, 1911, p. 114.).
Filling the sheet with dark earthy color, Schiele appears in this work to give a glimpse into the interior and private world of these two girls together in an intimate and private embrace that their expressions and adult faces suggest is not wholly innocent. Lesbianism, another taboo subject in fin-de-siècle Vienna, was also another aspect of human sexuality that fascinated Schiele at this time (fig. 3). Unlike other of his more provocative and explicit works on this theme, in this watercolor, it is the hint of it--the fact that it is an idea seemingly born only in the viewer's mind--that lends the work much of its mystery and haunting power. Using the wet on wet technique of watercolor to masterly effect, Schiele has deliberately let the colors bleed into fascinating organic textures so as to ground the work even further and reinforce its earthy sense of naturalism. Seemingly sheltered in their earthy cocoon, these two pale-faced and almost vampiric creatures exude a gentle eroticism that is rooted in the fact that they are at the mercy of their inner nature and its physical drives. Observing them in this moment of intimacy and tender togetherness Schiele asserts through these two girls, the provocative power and naturalness of the sex-drive. Like Wedekind before him, this work reveals that "the flesh has its own spirit" but it also uses this revelation in an existential way to give an insight into the inner psychology of the human being. Like so many of Schiele's erotic works, this watercolor too shows the human being ultimately to be an impoverished and isolated creature trapped alone in its body and in desperate need of physical contact and communion with others.
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MissMagAddict
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Egon Schiele (1890-1918)
Einzelne Häuser (Häuser mit Bergen) (recto); Monk I (fragment; verso)
signed 'EGON SCHIELE 1915' (center right)
oil on canvas
43¼ x 55 in. (109.8 x 139)
Estimate 20,000,000-30,000,000 U.S. Dollars
Concentrated in the center of the canvas, the buildings in Einzelne Häuser (Häuser mit Bergen) take on an almost human quality, recalling the contorted, naked bodies that fill so many of Schiele's figure oils and drawings. The houses in this 1915 painting appear to be huddled together as though for warmth, yet the skeletal angularity of these structures hints at a singular lack of solace or shelter. Schiele's landscapes, especially from the period of 1912 onwards--the years of his full expressionistic maturity--involve a strange and heady mixture of his own deeply personal references, his searingly modern style and the projection of emotions upon the scene before him (fig. 1).
This projection worked on both a personal and a wider scale. As is the case in almost all of Schiele's townscapes, the buildings in Einzelne Häuser appear to represent his mother's hometown, Krumau (now known as Cesky-Krumlov and located in the Czech Republic). Schiele had moved to Krumau only a few years before this picture was painted, but did not live there for long. While there, he was met with relative hostility by the town's inhabitants, partly because he did not attend church, partly because he had lived openly 'in sin' with his lover, Valerie Neuzil (nicknamed Wally), and partly because he was believed to be using young girls as naked models.
As it turned against him, the town came to take on a darker significance in his mind and, more importantly, in his art. Krumau became the Tote Stadt--the 'Dead City.' Its winding medieval streets and dark alleys introduce a frantic, paranoid energy, giving a sense of claustrophobia while also implying that something sinister might lurk around each and every corner (fig. 2). In Einzelne Häuser, the effect of this psychological landscaping is heightened by the strange isolation of this clutch of buildings, around which the barren countryside appears to stretch to the distant, unattainable mountains that peek over the hazy horizon. Within this large space, the jumble of houses becomes a metaphor for vulnerability in its own right (fig. 3). Their frenetic appearance is thrown all the more into relief by their contrast with the structured background, which has a faint grid composition and relies on the repeated horizontal bands of the various layers of the landscape setting, recalling the Parallelism of Ferdinand Hodler (fig. 4). The houses themselves appear tenuously held together, a nervous capsule of fragile life-force within the autumnal setting. Their angularity and impossible perspective--reminiscent of medieval art as much as of the medieval buildings of Krumau--lends the picture a sense of refractedness that even recalls the early Cubism of Picasso in Horta or of Braque.
Schiele's association of Krumau with fear and darkness became all the more overt in his landscapes when he was essentially driven out by its citizens (although he would continue to visit occasionally). His use of townscapes to portray these feelings increased in 1912, when he was arrested after being denounced in Neulengbach, a town near Vienna to which he and Wally had retreated to avoid hostility (fig. 5). It was alleged that he had seduced an under-age girl; while this charge was not upheld, he was incarcerated for some weeks because he was considered to have exposed children to obscene materials, as his pictures--considered p*rn*gr*ph*c by Neulengbach--were plain to see in the studio. Schiele--who, as a radical and misunderstood artist, already had a martyr complex--considered his imprisonment a trial, an ordeal, a process of purification at the hands of the unknowing philistines. And while he believed that he was pure, embodying the spirit of a new age, the converse was also true of the rest of the world, which he depicted as alien, hostile and decaying. In Einzelne Häuser, this is seen in the deliberately palid palette that marks so much of the work, as well as the almost fungal colors of the trees and the houses themselves, which appear to be crumbling and rotting before us.
Although Schiele was not living in Krumau at the time that Einzelne Häuser was painted, his former hometown, so associated with his family, continued to feature in his pictures. It became an extended metaphor, a template upon which he could project his own feelings and fears. Schiele did not feel the great need to have the motif, which he knew so well, before him. He explained this in a letter to Franz Hauer: 'I also do studies, but I find, and know, that copying from nature is meaningless to me, because I paint better pictures from memory, as a vision of landscape' (Schiele in 1913, quoted in C.M. Nebehay, Egon Schiele 1890-1918 Leben, Briefe, Gedichte, Vienna, 1979, No. 573). The intention is clearly not to depict the landscape per se, but instead to use it as a sort of vessel to contain a deeper, darker content that is a product of the imagination rather than of the town's topographical appearance.
The atmosphere of imminent mortality that haunts Einzelne Häuser was a result of Schiele's own personal feelings, but also reflected his wider attitudes towards death and the world at large. By 1915, his vision of a rotting landscape was all the more pertinent as the First World War raged across Europe, threatening all the old hierarchies and status quos. Schiele was fascinated not only with the death of the old order but also with the chance for renewal, both personal and on a grander scale, that it would perhaps bring. It was because of this that landscapes such as Einzelne Häuser took on such an autumnal quality, his palette recalling damp wood and leaves falling. Towns in particular, as the direct result of centuries of human creative force and spirit, were the perfect theme for Schiele. His friend Arthur Roessler claimed to recall Schiele stating that he had sought out,
...the sadness and destitution of dying towns and landscapes with a happy heart... not out of perversity, not because I wanted vainly to flatter myself with the power of the dead, but because I am conscious of my humanity, because I know there is much more misery in our existence and because I find Autumn much more beautiful than every other season... not only as a season but also as a condition of man and things-- therefore of towns, also. It fills the heart with grief and reminds us that we are but pilgrims on this earth... the builder of the first town was Cain, Cain who slew his brother Abel' (Schiele, quoted in F. Whitford, Egon Schiele, London, 1981, p. 104).
This passage reflects Schiele's own feelings of vulnerability as well as his wider vision of the world as tainted by the autumnal touch of mortality, a feeling that haunted all of his landscapes and which was encapsulated in the words of one of his poems: 'How good!-- Everything is living dead' (Schiele, quoted in Whitford, op.cit, 1981, p. 136). Einzelne Häuser has little in common with the quest for the aesthetic that had driven so many of the artists in fin de siècle Vienna, the Klimt-like search for peace and the sublime (fig. 6). This striving for beauty has been replaced by a franker, more pessimistic view of life shaped by Schiele's own experiences of human nature as well as the wider problems, conflicts and tensions of a world being torn apart by war. The First World War came into Schiele's life directly when he was called up for service, only days after his marriage to Edith Harms--the brief period of happiness that had been brought about by their liaison was disrupted by the very real possibility of active or dangerous duties. Schiele's anxieties would eventually be allayed, and he managed to avoid any overly active service, yet his fear at the beginning of being sent into action--before he was given a posting--was very real, exposing the artist to the grim realities of war. Einzelne Häuser reflects the upsets, the ups and downs, the angst-ridden times through which Schiele was living in 1915.
It is perhaps another reflection of the hardships and realities of war that Schiele painted Einzelne Häuser on the reverse of a fragment of an older picture. On the verso is a fragment, known as Mönch I, that dates from 1913 (fig. 7). This is believed to have possibly formed a part of one of Schiele's largest attempted projects, Bekehrung ('Conversion'), and is certainly linked to the two monumental allegories that he produced that year of which only fragments, sketches and occasional photographic evidence are now known. In these allegorical paintings, Schiele used a mixture of overtly sexual imagery and religious iconography in order to present his own philosophy: these are images that concern sex, the enlightened state of pure sexual abandon, the pure life-force that sears through those who are joined in sexual union. The figure of the monk in this work would have played a part in a larger-scale composition exploring these themes, echoing for example the celebrated 1912 painting Kardinal und Nonne (Liebkosung). These themes of conversion, of the spiritual epiphany, of religious encounters and so forth helped to portray Schiele as a martyr and a prophet, a theme which had become all the more important to him following his persecution in Neulengbach.
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MissMagAddict
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Unfortunately the images referenced above as (fig. 1) (fig. 2) etc are not available at the website of Christies.
I'll give an update after the Auction because these will surely sell for more than the estimated price.
I'll give an update after the Auction because these will surely sell for more than the estimated price.
