"Art cannot be modern. Art is primordially eternal."


Schiele, Egon (1890-1918) was an Austrian expressionist artist, although still strongly associated with the art nouveau movement. He was at first strongly influenced by Gustav Klimt, whom he met in 1907, but soon achieved an independent anti-classical style wherein his jagged lines arose more from psychological and spiritual feeling than from aesthetic considerations. He painted a number of outstanding portraits and a series of unflinching and disquieting self-portraits. Schiele made eroticism one of his major themes and he was at odds with art critics and society for most of his brief life. Egon Schiele died when he was only 28.

Schiele was born in Tulln on the Danube. As a child, he attended the school run by the Klosterneuburg Priory, where his arts teacher recognized and supported Schiele's artistic talent. In 1906, Schiele applied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden Künste, also in Vienna. There, he studied painting and drawing, but was frustrated by the school’s conservatism.

In 1907, Schiele sought out Gustav Klimt. Klimt generously mentored younger artists, and he took a particular interest in the gifted young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. He also introduced Schiele to the Wiener Werkstätte, the arts and crafts workshop connected with the 'Vienna Secession' (also known as the Union of Austrian Artists).

In 1908 Schiele had his first exhibition, in Klosterneuburg. Schiele left the Academy in 1909, after completing his third year, and founded the Neukunstgruppe ("New Art Group") with other dissatisfied students.

Klimt invited Schiele to exhibit some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academy's conventions, Schiele began to explore not only the human form, but also human sexuality. At the time, many found the explicitness of his works disturbing. Some view Schiele's work as being grotesque, erotic, pornographic, or disturbing. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion. He also painted tributes to Van Gogh's Sunflowers as well as landscapes and still lifes.

In 1911, Schiele met the seventeen-year-old Valerie 'Wally' Neuzil, who lived with him in Vienna and served as model for some of his most striking paintings. Very little is known of her, except that she had previously modeled for Gustav Klimt. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to the small town of Krumau in southern Bohemia. Krumau was the birthplace of Schiele's mother; today it is the site of a museum dedicated to Schiele. Despite Schiele's family connections in Krumau, he and his lover were driven out of the town by the residents, who strongly disapproved of their lifestyle.

Together they moved to Neulengbach seeking inspirational surroundings and an inexpensive studio in which to work. As it was in the capital, Schiele's studio became a gathering place for Neulengbach's delinquent children. Schiele's way of life aroused much animosity among the town's inhabitants. In April 1912, he was was found guilty of exhibiting erotic drawings in a place accessible to children. While in prison, Schiele created a series of 12 paintings depicting the difficulties and discomfort of being locked in a jail-cell.

In 1914, Schiele glimpsed the sisters Edith and Adéle Harms, who lived with their parents across the street from his studio in the Viennese suburb of Hietzing. They were a middle-class family and Protestant by faith; their father was a master locksmith. In 1915, Schiele chose to marry the more socially acceptable Edith, but had apparently expected to maintain a relationship with Wally. However, when he explained the situation to Wally, she left him immediately and never saw him again. This abandonment led him to paint "Death and the Maiden". Despite some opposition from the Harms family, Schiele and Edith were married on 17 June 1915, the anniversary of the wedding of Schiele's parents.

World War I now began to shape Schiele's life and work. Three days after his wedding, Schiele was ordered to report for active service in the army where he was initially stationed in Prague. In the army, Schiele was treated well by officers who respected his artistic talent. He never saw any fighting at the front, and was able to continue painting and sketching while guarding Russian prisoners of war, and doing light guard duties. By 1917, he was back in Vienna, able to focus on his artistic career. His output was prolific, and his work reflected the maturity of an artist in full command of his talents. He was invited to participate in the Secession's 49th exhibition, held in Vienna in 1918. Schiele had fifty works accepted for this exhibition, and they were displayed in the main hall. He also designed a poster for the exhibition, which was reminiscent of the Last Supper, with a portrait of himself in the place of Christ. The show was a triumphant success, and as a result, prices for Schiele's drawings increased and he received many portrait commissions. During the same year, he also had successful shows in Zürich, Prague, and Dresden.

Schiele participated in numerous group exhibitions, including those of the Neukunstgruppe in Prague in 1910 and Budapest in 1912; the Sonderbund, Cologne, in 1912; and several Secessionist shows in Munich, beginning in 1911. In 1913, the Gallery Hans Goltz, Munich, mounted Schiele's first solo show. A solo exhibition of his work took place in Paris in 1914.

In the autumn of 1918, the Spanish flu epidemic that claimed more than 20,000,000 lives in Europe reached Vienna. Edith, who was six months pregnant, succumbed to the disease on 28 October. Schiele died only three days after his wife. He was 28 years old. During the three days between their deaths, Schiele drew a few sketches of Edith; these were his last works.


"Self Portrait with Chinese Lantern Fruits" (1912) Oil and body paint on wood, 32.2 x 39.8 cm - 12.7 x 15.7 in. Leopold Collection, Vienna, Austria.



"Death and the Maiden" (1915) Oil on canvas, 150.5 × 180 cm - 59.3 x 70.9 in. Österreichische Galerie Belvedere, Vienna, Austria.



"Portrait of Wally" (1912) Oil on wood, 32.7 x 39.8 cm - 12.9 x 15.7 in. Leopold Collection, Vienna, Austria.



"House with Shingles" (1915) Oil on canvas.



"Portrait of Arthur Roessler" (1910) Oil on canvas, 99.6 x 99.8 cm - 39.2 x 39.3 in. Historical Museum of Vienna, Vienna, Austria.



"Portrait of Albert Paris von Gütersloh" (1918) Oil on canvas, 140.5 × 110 cm - 55.3 x 43.3 in. Minneapolis Institute of Arts, Minneapolis, Minnesota, USA.



"Portrait of Edith Schiele with striped dress" (1915) Oil on canvas.



"Russian prisoner of war - Grigori Kladjischuili" (1916) Oil on canvas.

Text source: 'Wikipedia' ( and others.

Related Artists:

Related Terms: Expressionism, Art Nouveau.


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