Egon Schiele

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Egon Schiele (12 June 1890 – October 1918) was an Austrian painter.

Schiele, a protégé of Gustav Klimt, was a major figurative painter of the early 20th century.

His work is praised for its clarity and raw sexuality, as well as the numerous self-portraits by the artist, including naked self-portraits.

Schiele's paintings and drawings are characterized as an early proponent of Expressionism by the twisted body shapes and the expressive line that characterizes the artist's drawings and drawings.

Early life

Schiele was born in 1890 in Tulln, Lower Austria. Adolf Schiele, the station master of the Austrian State Railways, was born in 1851 in Vienna, and Egon Schiele, a Czech from Ballenstedt and Aloisia Schimak, died in 1861 in Paris. Petro Poferl, a German Bohemian mother from esk' Krumlov, was born in 1861. Schiele was fascinated by trains as a child and would spend hours drawing them to the point where his father was forced to burn his sketchbooks. Schiele, an 11-year-old boy, moved to Krems (and later to Klosterneuburg) to attend secondary school. Schiele was regarded as a peculiar boy by those around him. Except in athletics and drawing, he did poorly at school, and was mainly in classes made up of younger students, who were shy and reserved. He also had incestuous tendencies against his younger sister Gertrude (who was also known as Gerti) and his father, who was reportedly afraid of Egon's behavior, was compelled to break down the door of a locked room in order to see what they were doing (only to learn that they were filming). When he was sixteen, he rode the twelve-year-old Gerti to Trieste without authorization and spent the night in a hotel room with her.

Schiele's father died of syphilis and he became a ward of his maternal uncle, Leopold Czihaczek, who was also a railway official, when he was 14 years old. Although Schiele wanted to follow in his footsteps but was distraught with his lack of interest in academia, he respected Schiele's ability for drawing and uninhibitedly granted him a mentor, Ludwig Karl Strauch. Schiele began studying at Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Schiele was sent from Vienna's more traditional Akademie der Bildenden Künste in 1906 during his first year there. Christian Griepenkerl, the academy's principal, was a painter whose strict rule and ultra-conservative style enraged Schiele and his classmates so much that he left three years later.

Schiele, a 1907-born artist who generously accompanied younger artists, sought out Gustav Klimt. Klimt took a particular interest in the teenage Schiele, purchasing his drawings, promising to exchange them for some of his own, arranging models for him, and introducing him to prospective clients. Schiele was also introduced to the Wiener Werkstätte, the arts and crafts workshop that was associated with the Secession. Schiele's earliest works between 1907 and 1909 reveal semblances with Klimt's, as well as influences from Art Nouveau. In 1908, Schiele held his first show in Klosterneuburg. Schiele left the Academy in 1909 after completing his third year, and founded the Neukunstgruppe ("New Art Group") with other dissatisfied students. Schiele was heavily influenced by Klimt and Kokoschka in his early years. Although replicas of their styles, particularly the former, are prominent in Schiele's first works, he soon developed his own distinctive style.

Klimt invited Schiele to view some of his work at the 1909 Vienna Kunstschau, where he encountered Edvard Munch, Jan Toorop, and Vincent van Gogh, among others. Schiele, who had been released from the Academy's ties, began to investigate not only the human form but also human sexuality. Schiele's work was already daring, but it went one step forward with the inclusion of Klimt's decorative eroticism and the development of what some may refer to as figurative distortions, which included elongations, deformities, and sexual openness. Schiele's self-portraits helped re-establish both genres' energy with their distinctive degree of emotional and sexual integrity as well as use of symbolic transformation in place of traditional beauty ideals. In addition, he created tributes to Van Gogh's Sunflowers, landscapes, and still lifes.

Schiele beganexperimenting with nudes in 1910 and by a year, a distinctive style with emaciated, sickly-colored figures, often with strong sexual overtones. Schiele children also started painting and drawing children. Kneeling Nude with Raised Hands (1910) by Schiele is one of the most influential nude art works of the twentieth century. Both scholars and liberals alike were skeptical about Schiele's radical and developed approach to the naked human form. This quirky work and style defied rigid academia and sparked a sexual controversy thanks to its contorted lines and heavy use of figurative language. Many people found the explicitness of his works disturbing at the time.

Schiele appeared in numerous group exhibitions from then on, including those of the Neukunstgruppe in Prague and Budapest in 1912; the Sonderbund, Cologne, 1912; and several Secessionist shows in Munich, beginning in 1911. Schiele met seventeen-year-old Walburga (Wally) Neuzil, who lived with him in Vienna and served as a model for some of his most recognizable paintings in 1911. Except that she had previously modelled for Gustav Klimt and may have been one of his mistresses, very little is known about her. Schiele and Wally wanted to flee what they felt as the claustrophobic Viennese milieu, so they travelled to esk (Krumau) in southern Bohemia. Krumau was Schiele's mother's birthplace; today it is the site of a Schiele museum dedicated to Schiele. Despite Schiele's family connections in Krumau, he and his partner were pushed out of the town by the locals, who largely disagreed with their lifestyle, including the alleged teaching of the town's teenage girls as models. Schiele's work became more complex and thematic, and he would eventually begin dealing with topics such as death and rebirth.

Together, the couple travelled to Neulengbach, 35 km (22 mi) west of Vienna, seeking picturesque scenery and a cheap studio in which to work. Schiele's studio became a gathering place for Neulengbach's delinquent children as it was located in the capital. Schiele's way of life ignited a lot of animosity among the town's people, and he was jailed in April 1912 for seducing a teenager under the age of 14 on the 14th of consent.

More than a hundred drawings were confiscated when the police arrived at his studio to place Schiele under arrest. Schiele was detained while awaiting his appeal. The charges of seduction and kidnapping were dismissed when the artist was found guilty of showing sexual artwork in a venue that was not readily accessible to children when his trial was heard by a judge. The judge set fire to one of the offending drawings by a candle flame in court. He had already been detained for twenty-one days and was sentenced to a further three days in jail. Schiele created a series of 12 paintings depicting the challenges and strain of being detained in a jail cell.

The Galerie Hans Goltz, Munich, 1913, mounted Schiele's first solo exhibition. In 1914, his work was shown in a solo exhibition in Paris.

Schiele photographed sisters Edith and Adéle Harms, who lived across the street from their studio in Hietzing's historic district of Hietzing, 102 Hietzinger Hauptstraße, in 1914. They were a middle-class family and Protestant by faith; their father was a master locksmith. Schiele chose Edith, the more socially acceptable heir, in 1915, but she was apparently keen to keep a friendship with Wally. However, when she explained the situation to Wally, she immediately told him and never saw him again. Wally's portrait is based on a previous pairing, but Schiele's portrait is based on a new one. Schiele wrote a note to his friend Arthur Roessler in February 1915, saying, "I want to marry, efficiently." ("Not to Wally." Despite some resistance from the Harms family, Schiele and Edith were married on June 17, 1915, the anniversary of Schiele's parents' marriage.

Although Schiele avoided conscription for nearly a year, World War II is a war I now live and work. Schiele was ordered to report for active service in the army, where he was first stationed in Prague three days after his marriage. Edith came with him and stayed in a hotel in the city, while Egon lived in an exhibition hall with his fellow conscripts. They were allowed by Schiele's commanding officer to see each other every other occasionally.

Schiele's paintings became larger and more elaborate during the war. However, his military service took him little time, and a large portion of his output consisted of linear drawings of scenery and military officers. Schiele began investigating the themes of motherhood and family at the time. Edith was the model for the majority of his female characters, but most of his sitters were male during the war (due to circumstance). Schiele's female nudes became fuller in figures after 1915, but some were deliberately illustrated with a lifeless doll-like style.

Schiele was also showing in Berlin despite his military service. He has also had success in Zürich, Prague, and Dresden. His first jobs involved guarding and escorting Russian prisoners. Schiele was eventually offered a job as a clerk in a POW camp near Mühling due to his poor heart and outstanding handwriting. There, he was allowed to draw and paint imprisoned Russian officers; his general, Karl Moser (who mistook Schiele for a painter and decorator when he first met him) even gave him a disused store room to use as a studio. Since Schiele was in charge of the food stores in the camp, he and Edith could enjoy food beyond rations.

By 1917, he was back in Vienna and ready to concentrate on his artistic career. His output was consistent, and his work reflected the maturity of an artist in full control of his abilities. He was invited to exhibit in the Secession's 49th exhibition, which was held in Vienna in 1918. Schiele had fifty works accepted for this exhibition, and they were on view in the main hall. He also made a poster for the exhibition, which was reminiscent of the Last Supper, with a portrait of himself in the place of Christ. The performance was a huge success. As a result, Schiele's drawings' prices increased and he received several portrait commissions.

The Spanish flu pandemic hit Vienna in 1918's fall. Edith, a six-month-pregnant, died of the disease on October 28th. Schiele died just three days after his wife died. He was 28 years old. Schiele drew a few sketches of Edith during the three days between their deaths.

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