Egon schiele art style
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Egon Schiele Biography
Egon Schiele was born June 12, 1890, in Tulln, Austria. After attending school in Krems and Klosterneuburg, he enrolled in the Akademie der Bildenden Künste in Vienna in 1906. Here he studied painting and drawing but was frustrated by the school’s conservatism. In 1907, he met Gustav Klimt, who encouraged him and influenced his work. Schiele left the Akademie in 1909 and founded the Neukunstgruppe with other dissatisfied students. Upon Klimt’s invitation, Schiele exhibited at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toroop, Vincent van Gogh, and others. On the occasion of the first exhibition of the Neukunstgruppe in 1909 at the Piska Salon, Vienna, Schiele met the art critic and writer Arthur Roessler, who befriended him and wrote admiringly of his work. In 1910, he began a long friendship with the collector Heinrich Benesch. By this time, Schiele had developed a personal expressionist portrait and landscape style and was receiving a number of portrait commissions from the Viennese intelligentsia.
Seeking isolatio
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Summary of Egon Schiele
With his signature graphic style, embrace of figural distortion, and bold defiance of conventional norms of beauty, Egon Schiele was one of the leading figures of Austrian Expressionism. His portraits and self-portraits, searing explorations of their sitters' psyches and sexuality, are among the most remarkable of the 20th century. The artist, who was astoundingly prolific during his brief career, is famous not only for his psychologically and erotically charged works, but for his intriguing biography: his licentious lifestyle marked by scandal, notoriety, and a tragically early death of influenza at age twenty-eight, three days after the death of his pregnant wife, and at a time when he was on the verge of the commercial success that had eluded him for much of his career.
Accomplishments
- Schiele's portraits and self-portraits helped re-establish the vitality of both genres with their unprecedented level of emotional and sexual directness and use of figural distortion in place of conventional notions of beauty. Frequently depicting himself or those
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Egon Schiele: his life and paintings
Austria's position within the maelstrom of twentieth-century cultural and political history is extremely ambiguous: at once central and off the beaten track. The small nation that came into being after 1918, almost wholly devoid of international presence, was easily subsumed into Hitler's Reich in 1938. On the losing side in both world wars, Austria was further obscured by a tendency to write history from the perspective of the victor nations. In art, this meant that the trajectory of modernism was traced from prewar France to postwar America, with an overriding emphasis on formalist innovations. Germany's more figural Expressionism was grudgingly acknowledged but never embraced. Austrian modernism - which combined Expressionist elements with traces of Symbolism and Art Nouveau - was for many years wholly ignored in the West.
This began to change gradually in the 1970s, as American and British scholars woke up to the bizarre concentration of multifaceted talents who had occupied the Viennese capital in the first two decades of last century
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