Egon Schiele.
Esther. Selsdon
Bok Engelsk 2011 · Electronic books.
| Omfang | 1 online resource (179 pages)
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| Utgave | 1st ed.
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| Opplysninger | Intro -- His life -- Schiele's Childhood -- The Favourite Sister, Gerti -- Vienna at the Turn of the Century -- Gustav Klimt, the Father Figure -- Schiele's Models -- Expressive Art Process -- Encounter with the Mirrored Image -- First Exhibitions -- Vienna Art Scene -- Schiele's Close Circle of Friends -- Wally, his first love -- Self-Portrait as Nude Study -- Schiele, the Man of Pain -- Fascination with Death -- Phantom-Like Creatures -- Body Perspectives -- Vampire-Like Trait of Sex -- Disgust and Allure -- The Age of the Pornographic Industry -- Schiele's Arrest -- International Artist -- Schiele's Socially Advantageous Marriage -- The Bourgeois Schiele -- Schiele, a Celebrated Artist -- His work -- SUNFLOWER I -- PORTRAIT OF THE PAINTER ANTON PESCHKA -- PORTRAIT OF OTTO WAGNER -- SEATED NUDE GIRL -- SEATED FEMALE NUDE WITH RAISED RIGHT ARM (GERTRUDE SCHIELE) -- KNEELING GIRL IN ORANGE-RED DRESS -- THE DEAD MOTHER I -- SCHIELE DRAWING A NUDE MODEL IN FRONT OF A MIRROR -- FEMALE NUDE -- MOTHER AND CHILD -- RECLINING GIRL IN A DARK BLUE DRESS -- PORTRAIT OF THE PUBLISHER EDUARD KOSMACK -- THE PAINTER MAX OPPENHEIMER, THREE-QUARTER LENGTH -- PORTRAIT OF ARTHUR ROESSLER -- SEATED MALE NUDE (SELF-PORTRAIT) -- NEWBORN BABY -- THE POET (SELF-PORTRAIT) -- TWO LITTLE GIRLS -- GROUP OF THREE GIRLS -- THE DANCER MOA -- MOA -- OBSERVED IN A DREAM -- TWO GIRLS (LOVERS) -- SEATED GIRL, FACING FRONT -- AUTUMN TREES -- PROCESSION -- PROPHETS (DOUBLE SELF-PORTRAIT) -- AGONY -- HINDERING THE ARTIST IS A CRIME, IT IS MURDERING LIFE IN THE BUD -- AUTUMN SUN I (SUNRISE) -- CARDINAL AND NUN (CARESS) -- SELF-PORTRAIT WITH CHINESE LANTERN PLANT -- PORTRAIT OF WALLY (VALERIE NEUZIL) -- PORTRAIT OF IDA ROESSLER -- HOLY FAMILY -- WOMAN IN BLACK STOCKINGS (VALERIE NEUZIL) -- DOUBLE PORTRAIT (CHIEF INSPECTOR HEINRICH BENESCH AND HIS SON OTTO).. - SEATED FEMALE NUDE, ELBOWS RESTING ON RIGHT KNEE -- BLIND MOTHER -- YOUNG MOTHER -- NUDE WITH GREEN TURBAN -- TWO GIRLS (LOVERS) -- PORTRAIT OF FRIEDERIKE MARIA BEER -- SELF-PORTRAIT AS ST. SEBASTIAN (POSTER) -- TWO GIRLS LYING ENTWINED -- COITUS -- KRUMAU TOWN CRESCENT (THE SMALL CITY V) -- DECAYING MILL (MOUNTAIN MILL) -- DEATH AND MAIDEN (MAN AND GIRL) -- PORTRAIT OF AN OLD MAN (JOHANN HARMS) -- PORTRAIT OF HEINRICH BENESCH -- SEATED WOMAN IN UNDERWEAR, BACK VIEW -- EMBRACE (LOVERS II) -- SITTING WOMAN WITH BENT KNEE -- MOTHER WITH TWO CHILDREN III -- RECLINING FEMALE NUDE -- FOUR TREES -- EDGE OF TOWN (KRUMAU TOWN CRESCENT III) -- PORTRAIT OF THE PAINTER PARIS VON GÜTERSLOH -- THE FRIENDS (ROUND TABLE), SMALL -- THE FAMILY (SQUATTING COUPLE) -- Biography -- Index of Works.. - 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.
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| ISBN | 9781780427379
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