Egon Schiele

Introduction The work of Egon Schiele is very important to me personally. In this Extended Essay I focus on Egon Schiele because his artworks influence me. He likes to show his hands in his painting and photos. In his self-painting, I can always find out that the hands always attract my eyes. His hands really impress me and I really like his hands. This gives me an idea that to put my own hands on the social software and see that will people love my hands in this era. Now, I think the answer is

Egon Schiele, early 20th century artist and apprentice of Gustav Klimt, caused quite a controversy with his risquee nudes unapologetic eroticism. Schiele, though associated with figurative painting, was also considered an early predecessor of the Expressionist movement through his expressive and emotive lines. Schiele's paintings and drawings are far from being simply suggestive, and are rather explicit in their subject matter. His blatant display of sexuality in the majority of his works has consequently

year before Schiele's death, reveals many of these developments. The sense that Schiele is playing a narcissistic fantasy character is gone; his life as an individual matters more. As in nearly all his drawings, the figure is isolated against the bare page, stripped of context or props. The left arm seems to put a hammerlock on the negative space, some invisible adversary that has chewed off both hands. (Oddly, Schiele seems to have greatly disliked showing hands and feet: they are usually hidden

Schiele was an Austrian artist, who specialized in painting, printmaking and drafting. He was born in the year 1890 in Vienna, Austria where he died at age 28 in 1918(Wolf.) Schiele had grown up in a typical family setting with two older sisters, making him the third child in his family. From a very young age, Schiele possessed and showed his artistic ability. After his father had passed away Schiele started to attended “Vienna’s Akademie der bildenden Kunste (Academy of Fine Arts) which Gustav

Egon Schiele's Self-Portrait When I look at this portrait, the first thing that hits me is the way the artist, Egon Schiele, appears to have made himself look animated, like a cartoon. The way in which his right eye is rounded like a cartoon character and his left eye is squinting and almost shut, adds to the idea of a the portrait being a cartoon. The squinted left eye is as if he is sneaking around and evaluating his surroundings. If you cover the right side of the face (with the widely opened

It was no wonder why during the Nazi regime from 1933 - 1945 that the Nazis would thieve some of Europe’s most treasured works but also those deemed “degenerate.” Egon Schiele’s Portrait of Wally is a perfect example as to what “degenerate” art would be considered and what the Nazis would have been interested in seizing, but why? Egon Schiele’s Portrait of Wally is a figurative oil painting depicting Walburga Neuzil. In this painting, a medium to close up view of Neuzil as she gazes out of the

Egon Schiele, Self-Portrait with Spread Fingers, 1911 (see below) Without the title or other information provided, how would you interpret the image? - How I see the image is an image of man sitting in the foreground with his hands placed on his chest making a gesture similar to the peace sign. His wrinkly skin, suggests he is an old man and the red scar on his cheek bone seems like he may have been in a physical fight. As my eye wonders to the background, there is a thin black line indicated

is “imaginary” through their works. In music and art, a similar trend was taking place: late 19th century works offered the audience a window into the artist’s emotions, experiences, and desires. This idea is seen in Gustav Mahler’s 1st Symphony and Egon Schiele’s Seated Male Nude, in which both artists channel their experiences and emotions to release suppressed elements of their psyches. However, the purpose for their expressivity is different: Mahler’s expressivity stems from a desire to find relief

directs to Klimt pointing at the mirror which Schiele nears it, and then it ripples into Klimt’s life. Both of these artists’ style is mostly absurd and distorted, which reflects the way their mind is working, and because of this, it does to an extent hinder the objective of the film. 3. There are three distinct main characters in this film. They include Gustav Klimt the artist, Midi the fashion designer and a life companion of Klimt and Schiele who is Klimt’s protege. There is a fourth main

Owen, Anthem of the Doomed Youth,, “To any dead officer”, “They” as well as Christ and the soldier by Siegfried Sassoon, music lyrics from Roger Whittaker’s I Don't Believe In If Anymore, art pieces like Mealtime and Feeling wounded by Otto Dix and Egon Schiele’s portrait of Reserve Lieutenant Heinrich Wagner and portrait of an Officer. When referring to the above mentioned genres we will be focusing on the dehumanisation, demoralisation and disillusionment of war that leads to the regression of humanity