Can a talent come out and face the world alone or is the presence of someone necessary to act as an intermediary? Schiele was a boy pathologically linked to his sister Gerti, whom he had portrayed naked in various portraits. He is not happy in school because the masters are considered by him to be all rough men. Encouraged by Strauch, the Klosternburg painter Max Kahrer and the Augustinian canon Wolfang Paker, in 1906 Schiele applied for admission to the Vienna Academy. So if it hadn't been for them, we might never have known his works.
Strauch refines the technique of the young Egon noting in the nervous ease of his sign an affinity with Klimt, which Schiele does not yet know. Schiele is not a model student and is only 16 when he pits against his teacher Griepenkernl. It is in the veneration for Klimt that youth rebellion against the teacher and against academic dogmatism must be interpreted. These are the years in which Gustav Klimt is at the height of his career. But while Klimt colors his pictorial works with strange mosaics, for Schiele the painting represents the conflict between life and death. From this moment on his figures begin the phase of deformation. At this stage his design becomes harsh and suffering. The formal tension is entrusted to broken, broken and angular lines. Klimt's dream is shattered for Schiele. In Schiele we find suffering. The characters portrayed by him are no longer human beings but rigid mannequins forced into disjointed and unnatural poses. The bodies thus transformed are the artist's conscious attempt to use limbs, arms, hands and bodies to highlight inner emotions.
The decisive meeting for his entire artistic career took place in 1907 in the Café Museum in Vienna. Klimt's strong personality influences him tremendously. A further element brings the two men closer: the interest in depicting the naked body and both male and female sexuality. Gustav Klimt will also have great esteem for Schiele: he undertakes to help his friend, through the purchase of drawings, providing him with models, introducing him to some wealthy patrons, who assured him a certain financial peace of mind right from his beginnings on the Viennese art scene and ensuring that in 1908 Schiele could hold his first solo exhibition for the Wiener Werkstätte.
After a period spent in prison on an accusation of immoral conduct, as the painter used naked children as models for his works, disappointed by this bad experience, Schiele decides to return to Vienna. Thanks to his friend Klimt, he managed to obtain several commissions in a short time, returning to the fore on the Austrian art scene and participating in many international exhibitions. His works of the period are numerous, mostly self-portraits and portraits. The figures are usually naked, in unusual poses that tend to lead to caricature; the tormented figure recalls both death and eroticism.
So in the end I ask myself: if Egon Schiele hadn't had the help of all these people, and especially Klimt, would he have been able to show everyone his talent?

1 Comment (+add yours?)

  1. vermavkv
    Feb 25, 2022 @ 18:46:47

    Very nice


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