Schiele, Egon
Timeline: Expressionism

Austrian expressionist artist Egon Leo Adolf Schiele, b. June 12, 1890, d. Oct. 31, 1918, was at odds with art critics and society for most of his brief life. Even more than Gustav Klimt, Schiele made eroticism one of his major themes and was briefly imprisoned for obscenity in 1912. His treatment of the nude figure suggests a lonely, tormented spirit haunted rather than fulfilled by sexuality. At first strongly influenced by Klimt, whom he met in 1907, Schiele soon achieved an independent anticlassical style wherein his jagged lines arose more from psychological and spiritual feeling than from aesthetic considerations. He painted a number of outstanding portraits, such as that of his father-in-law, Johann Harms (1916; Solomon R. Guggenheim Museum, New York City), and a series of unflinching and disquieting self-portraits. Late works such as The Family (1918; Oesterreichische Galerie, Vienna) reveal a newfound sense of security.

1010 x 764 126.7K
126.7K, 1010 x 764

(Very mosiac. Lots of reds, browns, oranges.) Painted: 1912
Man and monk
66 x 81.5 cm
Neue Pinakothek

Death and Girl (Self-portrait with Walli)
Girl clutching the figure of Death.
His long boney fingers in her hair.
Painted: 1915
Osterreichisches Galerie

1019 x 765 125.0K
125.0K, 1019 x 765

1008 x 764 89.2K
89.2K, 1008 x 764

Four trees
Painted: 1917
Oil on canvas
Osterriche Galerie

Schiele drawing nude before mirror
Painted: 1910
Graphische Sammlung Albertina

504 x 766 18.4K
18.4K, 504 x 766

1019 x 768 102.0K
102.0K, 1019 x 768

Self Portrait with black Vase
Painted: 1911
Oil on wood
Historiches Museum der Stadt

Pregnant Woman and Death
Painted: 1911
Oil on canvas
National Gallery

858 x 767 80.2K
80.2K, 858 x 767

1003 x 764 43.6K
43.6K, 1003 x 764

Self Portrait
Painted: 1913
National Museum

Sitting Woman with Legs Drawn Up
Painted: 1917
Narodni Galerie

1019 x 764 106.8K
106.8K, 1019 x 764

 Austrian Expressionism
The Austrian Expressionist painter Egon Schiele (1890-1918) died when he was only 28 and we do not really know whether he would have developed from the self-pitying adolescent angst that was the main theme of his work. Self-Portrait (1910; 110 x 35.5 cm (43 x 14 1/4 in)), however, is a most moving theme in itself: a pathetic and yet powerful exposure of Schiele's vulnerability. He is mere skin and bone, not yet fully there as a person. He has outlined his body with a glowing line of white to indicate to us both his sense of imprisonment and his limitations: notice how his arm disappears almost at the elbow-- yet paradoxically it also suggests growth and potential. He is an unhappy, scrawny youth, the wild and exaggerated expanse of pubic hair perhaps indicating the center of his unhappiness. It may seem too individualistic a view, yet in his hysterical way he is expressing the fears and doubts of many young people. He is wonderful, unsettling, and strangely innocent.