Fülszöveg
The Melancholy Provocateur
Egon Schicic (1890-1918) and his oeuvrc, essentially produced within the space of barely ten years, today enjoy a global presence that for a long time few could have imagined possible. Exhibitions of his'art develop into media events, while saleroom prices of his works soar to spectacular heights.
Interest in Egon Schicic thus comes from many sides. This is naturally due first and foremost to Schiele himself and his unflagging preoccupation with his own person, to his captivating images, for which he accepted neither social conventions nor taboos, and to an enthralling aesthetic that is located between expression, performative staging and a search for physical identity. His pictures exert a magnetic attraction and invite us to explore them in detail - the emaciation of his self-portraits, the tautness of his naked bodies, the eyes staring wide. We thereby discern a driven, suffering but also rebellious individual who stages himself with relish and...
Tovább
Fülszöveg
The Melancholy Provocateur
Egon Schicic (1890-1918) and his oeuvrc, essentially produced within the space of barely ten years, today enjoy a global presence that for a long time few could have imagined possible. Exhibitions of his'art develop into media events, while saleroom prices of his works soar to spectacular heights.
Interest in Egon Schicic thus comes from many sides. This is naturally due first and foremost to Schiele himself and his unflagging preoccupation with his own person, to his captivating images, for which he accepted neither social conventions nor taboos, and to an enthralling aesthetic that is located between expression, performative staging and a search for physical identity. His pictures exert a magnetic attraction and invite us to explore them in detail - the emaciation of his self-portraits, the tautness of his naked bodies, the eyes staring wide. We thereby discern a driven, suffering but also rebellious individual who stages himself with relish and whose art is far more than the expression of a tortured soul. It is only too understandable that Schiele should become a figure of reference for artists cultivating a variety of images, such as David Bowie, or music icon Madonna, who as a Schiele collector perhaps recognizes in his figure someone with whom she shares an inexhaustible repertoire of poses and provocations. Our perception of Schiele is also influenced, however, by the very specific milieu to which he belonged - "Vienna around 1900", without whose wealth and fertile soil he would be inconceivable. At the same time, he broadened its creative scope in a manner similar only to Gustav Klimt and Oskar Kokoschka.
In this comprehensive new monograph 221 paintings from the productive last decade of his life illustrate Schiele's remarkable development at the height of his career. They are accompanied by excerpts from his many writings and poems, together with essays that situate him in the context of European Expressionism and trace the immense influence of his oeuvre.
'After my death, sooner or later, people uill surely praise me ami admire my art:'
— EGON SCHIELE ON HIS DEATHBED, 31 OCTOBER 1918
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