Egon Schiele - 1268 Words

The result is illustrated in Seated Female Nude with Raised Right Arm (1910, 45x32cm), a carefully finished piece submitted to Josef Hoffmann at the Wiener Werkstà ¤tte. Carefully outlined in black crayon on tinted paper, watercolor has been used to decorate the figure in a muted warm palette of orange, yellow green and ochre; the tiny wedge of cerulean blue above the head adds a complementary color accent. The line shows a tendency to peak at points of tension (the outline of the hip, the top edge of the left shoulder and forearm), a trick that makes the contour static but not heavy. The effect is decorative, to suit the postcards and knicknacks turned out by the workshop, but the figure also seems tense or vigilant, as if waiting for†¦show more content†¦These drawings increasingly minimize stylization and caricature, and go beyond mere sexual confrontation; the figures become more substantial and sculptural; the line achieves a new strength and complexity, and color is u sed to signal surface texture and contour. Schieles increasing success brought him a larger range of adult models and portrait commissions, and in 1915 he married, influences that stimulated a new sensitivity to the individuality of his subjects. Crouching Male Nude (Self-Portrait) (1917, 46x29cm), drawn just a year before Schieles 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 or omitted, and when they appear are harshly drawn.) A coil of gray extrudes from under the grotesquely dislocated hips, drawn as if a rumpled sheet, but alluding to excrement or evis ceration. Yet these bizarre aspects of the drawing lend the figure a taut energy, alertness and resilience. The pose, and the treatment of line, texture and color, closely resembleShow MoreRelatedThe Work Of Egon Schiele1448 Words   |  6 PagesIntroduction 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 isRead MoreEssay about Egon Schieles Self-Portrait905 Words   |  4 PagesEgon Schieles 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 openedRead MoreThe Capital Of A Great European Empire1876 Words   |  8 Pagesthe works of Oskar Kokoschka and Egon Schiele, a profound withdrawal from artistic traditions in its exploration of evocative themes. 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