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Egon Schiele


Agony ( The Death Agony )

Nude, self-portrait

Nude, self-portrait

Old Mill

Old Gable


Blind Mother or Mother

The house bend or island city

The lyricist

The Prophet

The Dancer

The death and the woman

The Bridge

The family

The small town II

The Embrace ( The Lovers )

Heinrich Bensch and his Son Otto



Woman with green stockings

Wife and husband

Woman Couple ( women hugging yourself )

Ms Beer

A volunteer Corporal

Houses with clotheslines or suburb

Houses in front of the mountainside

Autumn tree in the wind

Autumn sun and trees

Squatting male nude ( self portrait )

Crouching female nude

Squatting Woman Couple

Young mother

Cardinal and Nun or The caress

Small tree in late autumn

small town

Klosterneuburg, bald trees and houses

Kneeling nude, self-portrait

Kneeling girl on both elbows supported

Cesky Krumlov on the Vltava River or town IV

Lovemaking , study



Reclining Woman

Reclining nude


Male Nude with red cloth

Male nude , self-portrait

Wall and house before rolling terrain with fence

Mother with two children

Mother with two children ( the mother)

Mother and Child

Mother and daughter

Forward flexed female nude

Plum Tree

Portrait of Edith Schiele in a striped dress

Portrait of Edith Schiele , sitting

Portrait of Gertrude Schiele

Portrait of Trude Engel

Portrait of Albert Paris von Gütersloh

Portrait of Arthur Roessler

Portrait of Eduard Kosmack

Portrait of Erwin von Graff

Portrait of Heinrich Benesch

Portrait of Herbert Rainer

Portrait of Hugo Koller

Portrait of Johann Harms

Portrait of Karl Zakovsek

Portrait of Max Oppenheimer

Portrait of Wally

Schiele Living in Neulengbach

Black -haired girl with upturned rock

Sailing ships in waves moved water




Self-portrait, grimacing

Self-portrait in black robe

Self-portrait with lowered head

Self Portrait with Chinese lantern fruits

Self Portrait with Black Clay Pot

Selfview or death and man

Seated Woman with blue hair band

Seated Male Nude

Seated Female Nude

Seated Female Nude

Sitting child

Seated Couple

Stein on the Danube II


Still life

Dead Mother

Dead city or city on the blue river

Setting Sun

Four Trees

Female Nude

Reclined Woman


Boy in striped shirt

Sleeping Girls

Black-haired girl


Death and the Maiden


Gustav Klimt with a blue smock

House with drying clothes

Seated Female Nude, 1914

Self-portrait with shirt

Two friends

Egon Schiele (German pronunciation: [ˈʃiːlə], approximately SHEE-leh; June 12, 1890 – October 31, 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century.

Schiele's work is noted for its intensity, and the many self-portraits the artist produced. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism, although still strongly associated with the art nouveau movement (Jugendstil).

The Leopold Museum, Vienna houses perhaps Schiele's most important and complete collection of work, featuring over 200 exhibits. Other notable collections of Schiele's art include the Egon Schiele-Museum, Tulln and Österreichische Galerie Belvedere, Vienna.


Schiele was born in Tulln on the Danube. His father, Adolph Schiele, worked for the Austrian State Railways as a station master; his mother, Marie Soukup(ová), was from Krumau, in Bohemia. As a child, he attended the school run by the Stift Klosterneuburg, where his arts teacher K.L. Strauch recognized and supported Schiele's artistic talent.
Egon Schiele, Self-portrait, 1912

When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczec, who became distressed by Schiele's lack of interest in academic studies, yet recognized his passion and talent for art. In 1906 Schiele applied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden Künste in Vienna in 1906. There, he studied painting and drawing, but was frustrated by the school’s conservatism.

Klimt and first exhibitions

In 1907, Schiele sought out Gustav Klimt. Klimt generously mentored younger artists, and he took a particular interest in the gifted young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. He also introduced Schiele to the Wiener Werkstätte, the arts and crafts workshop connected with the Secession. In 1908 Schiele had his first exhibition, in Klosterneuburg. Schiele left the Academy in 1909, after completing his third year, and founded the Neukunstgruppe ("New Art Group") with other dissatisfied students.
Sitzender weiblicher Akt, 1914

Klimt invited Schiele to exhibit some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academy's conventions, Schiele began to explore not only the human form, but also human sexuality. At the time, many found the explicitness of his works disturbing.


Some view Schiele's work as being grotesque, erotic, pornographic, or disturbing, focusing on sex, death, and discovery. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion. He also painted tributes to Van Gogh's Sunflowers as well as landscapes and still lifes.[1]


In 1911, Schiele met the seventeen-year-old Valerie (Wally) Neuzil, who lived with him in Vienna and served as model for some of his most striking paintings. Very little is known of her, except that she had previously modelled for Gustav Klimt and might have been one of his mistresses. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to the small town of Český Krumlov (Krumau) in southern Bohemia. Krumau was the birthplace of Schiele's mother; today it is the site of a museum dedicated to Schiele. Despite Schiele's family connections in Krumau, he and his lover were driven out of the town by the residents, who strongly disapproved of their lifestyle, including his alleged employment of the town's teenage girls as models.

Together they moved to Neulengbach, 35 km west of Vienna, seeking inspirational surroundings and an inexpensive studio in which to work. As it was in the capital, Schiele's studio became a gathering place for Neulengbach's delinquent children. Schiele's way of life aroused much animosity among the town's inhabitants, and in April 1912 he was arrested for seducing a young girl below the age of consent.
Die kleine Stadt II. View of Krumau an der Moldau, 1912-1913

When they came to his studio to place him under arrest, the police seized more than a hundred drawings which they considered pornographic. Schiele was imprisoned while awaiting his trial. When his case was brought before a judge, the charges of seduction and abduction were dropped, but the artist was found guilty of exhibiting erotic drawings in a place accessible to children. In court, the judge burned one of the offending drawings over a candle flame. The twenty-one days he had already spent in custody were taken into account, and he was sentenced to only three days' imprisonment. While in prison, Schiele created a series of 12 paintings depicting the difficulties and discomfort of being locked in a jail-cell.
Tod und Mädchen (Death and the Maiden), 1915

In 1914, Schiele glimpsed the sisters Edith and Adéle Harms, who lived with their parents across the street from his studio in the Viennese suburb of Hietzing, 101 Hietzinger Hauptstrasse. They were a middle-class family and Protestant by faith; their father was a master locksmith. In 1915, Schiele chose to marry the more socially acceptable Edith, but had apparently expected to maintain a relationship with Wally. However, when he explained the situation to Wally, she left him immediately and never saw him again. This abandonment lead him to paint Death and the Maiden, where Wally's portrait is based on a previous pairing, but Schiele's is newly struck. (In February 1915, Schiele wrote a note to his friend Arthur Roessler stating: "I intend to get married, advantageously. Not to Wally.") Despite some opposition from the Harms family, Schiele and Edith were married on 17 June 1915, the anniversary of the wedding of Schiele's parents.

House with Shingles, 1915

World War I now began to shape Schiele's life and work. Three days after his wedding, Schiele was ordered to report for active service in the army where he was initially stationed in Prague. In the army, Schiele was treated well by officers who respected his artistic talent. He never saw any fighting at the front, and was able to continue painting and sketching while guarding Russian prisoners of war, and doing light guard duties. By 1917, he was back in Vienna, able to focus on his artistic career. His output was prolific, and his work reflected the maturity of an artist in full command of his talents. He was invited to participate in the Secession's 49th exhibition, held in Vienna in 1918. Schiele had fifty works accepted for this exhibition, and they were displayed in the main hall. He also designed a poster for the exhibition, which was reminiscent of the Last Supper, with a portrait of himself in the place of Christ. The show was a triumphant success, and as a result, prices for Schiele's drawings increased and he received many portrait commissions.

During the same year, he also had successful shows in Zürich, Prague, and Dresden.

Schiele participated in numerous group exhibitions, including those of the Neukunstgruppe in Prague in 1910 and Budapest in 1912; the Sonderbund, Cologne, in 1912; and several Secessionist shows in Munich, beginning in 1911. In 1913, the Galerie Hans Goltz, Munich, mounted Schiele's first solo show. A solo exhibition of his work took place in Paris in 1914.

In the autumn of 1918, the Spanish flu epidemic that claimed more than 20,000,000 lives in Europe reached Vienna. Edith, who was six months pregnant, succumbed to the disease on 28 October. Schiele died only three days after his wife. He was 28 years old. During the three days between their deaths, Schiele drew a few sketches of Edith; these were his last works.[2]


Schiele has been the subject of a biographical film, Excess & Punishment (aka Egon Schiele Exzess und Bestrafung), a 1980 film originating in Germany with a European cast that explores Schiele's artistic demons leading up to his early death. The film is directed by Herbert Vesely and stars Mathieu Carriere as Egon Schiele with Jane Birkin as his early artistic muse and Christine Kaufman as his wife and Kristina Van Eyck as her sister. As well, his life was represented in a theatrical dance production by Stephan Mazurek called "Egon Schiele", presented in May 1995, for which Rachel's, an American post-rock group, composed a score titled Music for Egon Schiele.[3]

Schiele's life and work have also been the subject of essays, including a discussion of his works by Richard Avedon in an essay on portraiture entitled "Borrowed Dogs."[4] Mario Vargas Llosa uses the work of Schiele as a conduit to seduce and morally exploit a main character in his 1997 novel The Notebooks of Don Rigoberto.[5]
Porträt von Wally (1912)

Portrait of Wally, a 1912 portrait, was purchased by Rudolf Leopold in 1954 and became part of the collection of the Leopold Museum when it was established by the Austrian government, purchasing more than 5,000 pieces that Leopold had owned. After a 1997-1998 exhibit of Schiele's work at the Museum of Modern Art in New York City, the painting was seized by order of the New York County District Attorney and had been tied up in litigation by heirs of its former owner who claim that the painting was Nazi plunder and should be returned to them.[6] The dispute was settled on July 20, 2010 and the picture subsequently purchased by the Leopold Museum for 19 Million USD.[7]

See also

* Painting the Century: 101 Portrait Masterpieces 1900–2000
* Self portrait
o List of Austrian artists and architects
* List of Austrians


* Egon Schiele: The Complete Works Catalogue Raisonné of all paintings and drawings by Jane Kallir, 1990, Harry N. Abrams, New York, ISBN 0810938022
* Egon Schiele: The Egoist (Egon Schiele: Narcisse échorché) by Jean-Louis Gaillemin; Translated from the French by Liz Nash ©2006 ISBN 978-0-500-30121-0 & ISBN 0-500-30121-2


1. ^ Egon Schiele: Erotic, Grotesque and on Display. ARTINFO. 1 April 2005. Retrieved 2008-04-17
2. ^ Frank Whitford, Expressionist Portraits, Abbeville Press, 1987, p. 46. ISBN 0896597806
3. ^ Roberts, Michael; Amy Kiser (1996-04-04). "Playlist". Denver Music. Retrieved 01-04-2008.
4. ^ "Performance & Reality: Essays from Grand Street (magazine)," edited by Ben Sonnenberg
5. ^ Complete Review
6. ^ Bayzler, Michael J.; and Alford, Roger P. "Holocaust restitution: perspectives on the litigation and its legacy", p. 281. NYU Press, 2006. ISBN 0814799434. Accessed July 5, 2010.
7. ^ Kennedy, Randy (20 July 2010). "Leopold Museum to Pay $19 Million for Painting Seized by Nazis". The New York Times.

Artist from Austria

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