Schiele gets the largest section, reflecting the Leopold Museum’s world-beating collection of his works. In fact, his elevated status in the art world owes much to the efforts of Rudolf und Elisabeth Leopold, whose collection led to the establishment of the museum. And not only in London. In Zürich at almost the same time, the Kunsthaus has a major Schiele exhibition, but with a fascinating twist which pairs Schiele with that leading contemporary painter of the nude, Jenny Saville RA. Further afield, Schiele’s birthplace, the small town of Tulln not far from Vienna, has a Schiele season whose focus is an exhibition of his earlier and later work. Almost incredibly, in New York, the Neue Galerie, a specialist museum of early modern Austrian and German art, also has a major Schiele show this autumn, concentrating on his portraits. I have no idea why all these shows have come together – there is no significant anniversary – but it is certainly a tribute to Schiele’s incredible productivity in his tragically brief life from 1890 to 1918. For all the differences between Klimt and Schiele in terms of generation, professional status and temperament – Schiele, for example, was narcissistically obsessed with self-portraiture, while no single self-portrait by Klimt exists – their artistic careers were intertwined. They even depicted the same model in their portraits of Friederike Maria Beer – Schiele in 1915-16 and Klimt not long after. Apparently, when Schiele engineered a meeting with Klimt on his arrival in Vienna as an ambitious young artist and asked him whether the drawings he had brought to show him revealed any talent, Klimt is reputed to have replied: “Yes. Much too much!” While Schiele took Klimt as a launching pad for the development of his own expressive style, Klimt returned the favour by integrating aspects of the younger man’s raw vision into his own later work. Their mutual respect and admiration generated a unique dialogue between two highly original lone talents.

Rudolf Leopold: Egon Schiele. Gemälde, Aquarelle, Zeichnungen, hrsg. von Elisabeth Leopold, München 2020. Kallier, Jane (June 2018). "Egon Schiele was not a sex offender". The Art Newspaper . Retrieved 2 March 2020.Egon Schiele as a boy, c. 1905; Unknown author Unknown author, Public domain, via Wikimedia Commons When I looked at Seated Woman With Bent Knee again, I saw all this longing and desire and regret in her eyes. And I wondered if perhaps she had felt more for her sister’s husband than the history books recorded. Had she imagined more to their relationship than was truly there? Egon Schiele: Death and the Maiden (Egon Schiele: Tod und Mädchen)". Cineuropa - the best of european cinema . Retrieved 21 April 2023. Klimt, who was born in 1862, and Schiele, born in 1890 and thus almost 30 years his junior, both played a vital role. The former was a founding member of the Vienna Secession, which united artists, sculptors and architects in a radical break with academic tradition, symbolised by Joseph Maria Olbrich’s revolutionary white building crowned with a dome of golden laurel leaves that housed the Secession’s exhibiting society. Klimt’s graceful mural, the Beethoven Frieze, designed for the 14th exhibition of the Viennese Secession in 1902 celebrating the genius of the great composer, merged Olbrich’s architecture and the inspiration of Beethoven’s Ninth Symphony to give expression to the Viennese ideal of the Gesamtkunstwerk.

New York. Neue Galerie. "Egon Schiele: Portraits," October 9, 2014–January 19, 2015, extended to April 20, 2015, no. 111.

Discover five famous works by legendary Austrian painter, Egon Schiele.

In 1908, when Schiele was eighteen, he participated in his first exhibition, a group showing in Klosterneuburg, a small town to the north of Vienna. The following year, Schiele and a few fellow students left the Academy in protest, citing the school's conservative teaching methods and its failure to embrace more forward-thinking artistic practices that were sweeping through Europe. As part of this rebellion, Schiele founded the Neuekunstgruppe (New Art Group), composed of other young, dissatisfied artists defecting from the Academy. The work of the Wiener Werskstätte creates a beautifully-lit collection of colours and forms from the likes of Moser and Josef Hoffmann: tableware, jewellery, glassware and similar

Schiele bringt Rekordpreis bei Online-Auktion" (in German). Welt.de. Archived from the original on 12 December 2013 . Retrieved 18 August 2013.

Sadly, their young lives were cut short. While working in Dalmatia (now part of Croatia), Neuzil contracted scarlet fever and died in 1917 at the age of 23. In 1918, a pregnant Edith Schiele succumbed to the Spanish flu; Egon died of the same cause three days later. He was 28. The multiple story lines of Egon and Wally – erotic exploration, artistic inspiration, obsession, loyalty, love,betrayal and service, all in the eye of a societal and geopolitical storm – continue to inspire. So does the powerful beauty, and beautiful power, of the many drawings and paintings of the woman sometimes described as Schiele’s ‘shadow’. Here, she at last shines in her own light. Putting Schiele alongside the young, notably female, and highly acclaimed painter of the nude, Jenny Saville RA, is an intriguing idea. But the Zürich show is a very serious one, carefully curated so that the extreme contrasts between the artists, particularly of scale, combined with the connections of theme, throw each artist into fresh relief. It is on a far larger scale than the Courtauld one, indeed is a major Schiele show in itself even without the Jenny Saville element. Notably it brings together no less than 37 of Schiele’s rare oil paintings as well as many of the watercolour drawings, both organised into thematic groups that bring out the full range of his art. Since Schiele’s tragic demise in 1918 at the age of 28, a cult following has galvanized around the wunderkind Austrian artist, whose avant-garde and open-minded depiction of the human body and sexuality was unprecedented in the realm of critically acclaimed art. Below, we explore the forces that inspired the power of Schiele’s oeuvre—one that still spellbinds artists and art lovers the world over today.

NY Appeals Court Explains Why Nazi-Stolen Paintings Belong With Jewish Collector's Heirs". www.lootedart.com . Retrieved 4 February 2021. This is perhaps Schiele's most celebrated self-portrait, and certainly the most storied. In this work, painted during a time in which he was participating in numerous exhibitions, Schiele gazes directly at the viewer, his expression suggesting a confidence in his artistic gifts. Although Schiele deploys less distortion than in other self-portraits, the painting refuses to idealize its subject, featuring scars and other lines characteristic of the contoured manner of the artist's drawing style. Schiele was seemingly quite into self-portrayals and once you’ve done a round of the galleries you start to recognize his face or mannerisms in pictures that were not strictly self-portraits.Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. David Williams (26 July 2019). "A man found a Egon Schiele drawing in a New York thrift store, and it could be worth a fortune". CNN. Life and Work of Egon Schiele, Austrian Expressionist Painter". ThoughtCo . Retrieved 21 April 2023.