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Egon Schiele

Eros and ExpressionismBy Esther Selsdon, Jeanette Zwingenberger

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Length2h 50m

About this audiobook

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.

Psychological Identity Rebellion Family Coming of Age Grief

Audiobook details

GenreOther

Length2 hrs 50 mins

Narrated byListen with 1,000+ voices

FormateBook with Audio

LanguageEnglish

1Introduction

46GROUP OF THREE GIRLS

2His life

47THE DANCER MOA

3Schiele’s Childhood

48MOA

4The Favourite Sister, Gerti

49OBSERVED IN A DREAM

5Vienna at the Turn of the Century

50TWO GIRLS (LOVERS)

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6Gustav Klimt, the Father Figure

51SEATED GIRL, FACING FRONT

7Schiele’s Models

52AUTUMN TREES

8Expressive Art Process

53PROCESSION

9Encounter with the Mirrored Image

54PROPHETS (DOUBLE SELF-PORTRAIT)

10First Exhibitions

55AGONY

11Vienna Art Scene

56HINDERING THE ARTIST IS A CRIME, IT IS MURDERING LIFE IN THE BUD

12Schiele’s Close Circle of Friends

57AUTUMN SUN I (SUNRISE)

13Wally, his first love

58CARDINAL AND NUN (CARESS)

14Self-Portrait as Nude Study

59SELF-PORTRAIT WITH CHINESE LANTERN PLANT

15Schiele, the Man of Pain

60PORTRAIT OF WALLY (VALERIE NEUZIL)

16Fascination with Death

61PORTRAIT OF IDA ROESSLER

17Phantom-Like Creatures

62HOLY FAMILY

18Body Perspectives

63WOMAN IN BLACK STOCKINGS (VALERIE NEUZIL)

19Vampire-Like Trait of Sex

64DOUBLE PORTRAIT (CHIEF INSPECTOR HEINRICH BENESCH AND HIS SON OTTO)

20Disgust and Allure

65SEATED FEMALE NUDE, ELBOWS RESTING ON RIGHT KNEE

21The Age of the Pornographic Industry

66BLIND MOTHER

22Schiele’s Arrest

67YOUNG MOTHER

23International Artist

68NUDE WITH GREEN TURBAN

24Schiele’s Socially Advantageous Marriage

69TWO GIRLS (LOVERS)

25The Bourgeois Schiele

70PORTRAIT OF FRIEDERIKE MARIA BEER

26Schiele, a Celebrated Artist

71SELF-PORTRAIT AS ST. SEBASTIAN (POSTER)

27His work

72TWO GIRLS LYING ENTWINED

28SUNFLOWER I

73COITUS

29PORTRAIT OF THE PAINTER ANTON PESCHKA

74KRUMAU TOWN CRESCENT (THE SMALL CITY V)

30PORTRAIT OF OTTO WAGNER

75DECAYING MILL (MOUNTAIN MILL)

31SEATED NUDE GIRL

76DEATH AND MAIDEN (MAN AND GIRL)

32SEATED FEMALE NUDE WITH RAISED RIGHT ARM (GERTRUDE SCHIELE)

77PORTRAIT OF AN OLD MAN (JOHANN HARMS)

33KNEELING GIRL IN ORANGE-RED DRESS

78PORTRAIT OF HEINRICH BENESCH

34THE DEAD MOTHER I

79SEATED WOMAN IN UNDERWEAR, BACK VIEW

35SCHIELE DRAWING A NUDE MODEL IN FRONT OF A MIRROR

80EMBRACE (LOVERS II)

36FEMALE NUDE

81SITTING WOMAN WITH BENT KNEE

37MOTHER AND CHILD

82MOTHER WITH TWO CHILDREN III

38RECLINING GIRL IN A DARK BLUE DRESS

83RECLINING FEMALE NUDE

39PORTRAIT OF THE PUBLISHER EDUARD KOSMACK

84FOUR TREES

40THE PAINTER MAX OPPENHEIMER, THREE-QUARTER LENGTH

85EDGE OF TOWN (KRUMAU TOWN CRESCENT III)

41PORTRAIT OF ARTHUR ROESSLER

86PORTRAIT OF THE PAINTER PARIS VON GÜTERSLOH

42SEATED MALE NUDE (SELF-PORTRAIT)

87THE FRIENDS (ROUND TABLE), SMALL

43NEWBORN BABY

88THE FAMILY (SQUATTING COUPLE)

44THE POET (SELF-PORTRAIT)

89Biography

45TWO LITTLE GIRLS

90Index of Works

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