<28세로 요절한 오스트리아 화가> 에곤 실레(Egon Schiele)

 

에곤 쉴레(Egon Schiele, 1890-1918)

에곤 쉴레는 1890년 6월 12일 다뉴브 강변의 튤린에서 태어났다.

비엔나 근방에 있는 이 소도시의 역장이 쉴레의 아버지 였다.

쉴레의 드로잉 감각은 일찍부터 현저하여,

그는 소년기의 대부분을 연필로 그리는 일로 보냈다.

쉴레가 14살 되던해 매독으로 사망한 쉴레의 아버지는

학교 공부를 소홀히 한 처벌로써 쉴레의 소묘들을 태워버렸다.

16살 때, 쉴레는 대리인이던 삼촌과 무관심한 어머니가 내커하지 않는 가운데

비엔나 미술학교로 보내졌다.

1년 후인 1907년, 그의 드로잉을 당시 이름높던 선배 화가

구스타프 클림트(Gustav Klimt)에 보일 기회가 주어졌다.

클림트는 소년의 비상한 재능을 알아보고 후원 했다.

클림트의 아르누보 양식과 소재의 영향은

1909년까지의 쉴레의 작품에서 현저히 보인다.

스승의 우아하고 장식적인 형상을 떠나서,

쉴레 자신의 표현적인 스타일이 나타나기 시작한것은 1910년 경에 이르러서였다.

이 시점은 가족으로부터 경제적 후원이 끊어져 고립감과

자기도취적 자기 연민에 빠져있던 때로서,

쉴레는 일련의 심리적, 성적 초상화를 제작하기 시작했다.

19111년, 조용히 작품제작에 몰두할 은둔처를 찾아,

비엔나를 떠나 모친의 고향인 보헤미아 크라마우로 이주했으나, 뜻을 이루지 못했다.

시골 사람들이 쉴레의 생활방식, 곧, 여인들과 모델과의 관계를 말 삼고 분개했기 때문이다.

이같은 이웃으로부터의 적개감은 그해 말 비엔나에서 35킬로미터 정도 떨어진

노이렝바하라고 하는 마을로

옮겨갔을 때도 되풀이된 현상이었다.

비엔나와 뮌헨, 괼른, 그리고 부다페스트에서의 전시와 함께

화가로서의 명성이 높아가던 참에,

쉴레는 노이렝바하 감옥에 24일간 갇히고 마는데,

죄명은 부도덕과 꾐 으로, 모델로 섰던 가출 소녀가

그를 고발했던 것이었다.

재판과정에서 판사는 쉴레의 드로잉 한 점을 불에 태워,

일찍이 그의 부친이 쉴레에게 가한 모독감을 일깨우게 했다.

감옥살이 경험은 쉴레에게 지워지지 않는 상처를 남겨

그후로 쉴레의 성격과 예술에 깊은 영향을 미쳤다.

그는 거의 철두철미 은둔적이 되었고 그리고 자신을 수도승이나 은둔자로 그린

초상화들을 그리기 시작했다.

1915년, 몇번의 시도 끝에 마침내 오스트리아 군대에 입대하고, 입대 2주 후에 결혼했다.

군인과 남편이라는 이중의 역할은 스스로가 가한 사회적 추방아의 모습을

그의 삶과 그림의 이미지에서 드러내게 도왔다.

더구나, 비엔나의 군대미술관에 배치가 된 후로는 집에서 거처하며

정규적으로 그림을 그릴 수 있게 되었다,

이 기간에 제작된 초상화들은 덜 과격하며 덜 호전적이었다.

1918년 3월 비엔나 서세션(Vlenna Secession)에서의 개인전은 호응이 좋았고

경제적 보답을 주었다.

그러나, 제 1차 세계대전 말기에 번진 악명높은 독감이 10월 비엔나에 당도하자,

당시 임신 6개월이던 쉴레의 아내가 먼저 독감에 걸려 사망했고,

쉴레는 그 사흘 뒤인 10월 31일 밤에 아내 뒤를 따랐다.

쉴레가 최후로 남긴 작품은 죽어가는 아내를 그린 소묘였다.

사망때까지, 에곤 쉴레는 선과 색채를 대가적인 솜씨로 다를수 있게 되었고,

3천여 점에 이르는 드로잉과 약 3백 점에 이르는 회화를 남겼다,

쉴레의 예술의 내용은 대단히 아름답게 그려 져있다.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

* 출처:cafe.daum.net/nudumodeljibhapso/SCFM/164

Egon Schiele
Self Portrait, 1912
Born	Egon Schiele (1890-06-12)12 June 1890 Tulln an der Donau, Austro-Hungarian Empire
Died	31 October 1918(1918-10-31) (aged 28) Vienna, Austro-Hungarian Empire
Nationality	Austrian
Education	Akademie der Bildenden Künste
Known for	Painting
Notable work	Seated Woman with Bent Knee; Cardinal and Nun; Death and Maiden; The Family
Movement	ｅxpressionism

 

Egon Schiele (German: [ˈʃiːlə] ( listen) ƩEE-lə; 12 June 1890 – 31 October 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including naked self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of ｅxpressionism.

 

Early life

Schiele aged 16, self-portrait from 1906

 

Schiele was born in 1890 in Tulln, Lower Austria. His father, Adolf Schiele, was the station master of the Tulln station in the Austrian State Railways; his mother Marie, née Soukupová, was a Czech from Český Krumlov (Krumau), in southern Bohemia.^[1] As a child, Schiele was fascinated by trains, and would spend many hours drawing them, to the point where his father felt obliged to destroy his sketchbooks. When he was 11 years old, Schiele moved to the nearby city of Krems (and later to Klosterneuburg) to attend secondary school. To those around him, Schiele was regarded as a strange child. Shy and reserved, he did poorly at school except in athletics and drawing,^[2] and was usually in classes made up of younger pupils. He also displayed incestuous tendencies towards his younger sister Gertrude (who was known as Gerti), and his father, well aware of Egon's behaviour, was once forced to break down the door of a locked room that Egon and Gerti were in to see what they were doing (only to discover that they were developing a film). When he was sixteen he took the twelve-year-old Gerti by train to Trieste without permission and spent a night in a hotel room with her.^[3]

Academy of Fine Arts

When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczec, also a railway official.^[1] Although he wanted Schiele to follow in his footsteps, and was distressed at his lack of interest in academia, he recognised Schiele's talent for drawing and unenthusiastically allowed him a tutor; the artist Ludwig Karl Strauch. 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 in Vienna in 1906. His main teacher at the academy was Christian Griepenkerl, a painter whose strict doctrine and ultra-conservative style frustrated and dissatisfied Schiele and his fellow students so much that he left three years later.

Klimt and first exhibitions

Portrait of Arthur Rössler, 1910

 

In 1907, Schiele sought out Gustav Klimt, who generously mentored younger artists. Klimt took a particular interest in the 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 Secession. 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.

Photograph of Egon Schiele, 1914

 

From then on, 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 Galerie Hans Goltz, Munich, mounted Schiele's first solo show. A solo exhibition of his work took place in Paris in 1914.

Controversy, success and marriage

In 1911, Schiele met the seventeen-year-old Walburga (Wally) Neuzil, who lived with him in Vienna and served as a model for some of his most striking paintings. Very little is known of her, except that she had previously modelled for Gustav Klimt and might have been one of his mistresses. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to the small town of Český Krumlov (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, including his alleged employment of the town's teenage girls as models.

Neulengbach and imprisonment

Schiele's drawing of his prison cell in Neulengbach

 

Together they moved to Neulengbach, 35 km west of Vienna, 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, and in April 1912 he was arrested for seducing a young girl below the age of consent.

When they came to his studio to place him under arrest, the police seized more than a hundred drawings which they considered pornographic. Schiele was imprisoned while awaiting his trial. When his case was brought before a judge, the charges of seduction and abduction were dropped, but the artist was found guilty of exhibiting erotic drawings in a place accessible to children. In court, the judge burned one of the offending drawings over a candle flame. The twenty-one days he had already spent in custody were taken into account, and he was sentenced to a further three days' imprisonment. While in prison, Schiele created a series of 12 paintings depicting the difficulties and discomfort of being locked in a jail cell.

Marriage

Edith Schiele 1915

 

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, 101 Hietzinger Hauptstrasse. 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, where Wally's portrait is based on a previous pairing, but Schiele's is newly struck. (In February 1915, Schiele wrote a note to his friend Arthur Roessler stating: "I intend to get married, advantageously. Not to Wally.") 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.

War, final years and death

Photograph of Egon Schiele, 1910s

 

Despite avoiding conscription for almost a year, 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. Edith came with him and stayed in a hotel in the city, while Egon lived in an exhibition hall with his fellow conscripts. They were allowed by Schiele's commanding officer to see each other occasionally. Despite his military service, Schiele was still exhibiting in Berlin. During the same year, he also had successful shows in Zürich, Prague, and Dresden. His first duties consisted of guarding and escorting Russian prisoners. Because of his weak heart and his excellent handwriting, Schiele was eventually given a job as a clerk in a POW camp near the town of Mühling.

There he was allowed to draw and paint imprisoned Russian officers, and his commander, Karl Moser (who assumed that Schiele was a painter and decorator when he first met him), even gave him a disused store room to use as a studio. Since Schiele was in charge of the food stores in the camp, he and Edith could enjoy food beyond rations.^[4] 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.

Death

In the autumn of 1918, the Spanish flu pandemic 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.^[5]

Style

Portrait of Anton Peschka 1909

Living room in Neulengbach, 1911

In his early years, Schiele was strongly influenced by Klimt and Kokoschka. Although imitations of their styles, particularly with the former, are noticeably visible in Schiele's first works, he soon evolved into his own distinctive style.

Schiele's earliest works between 1907 and 1909 contain strong similarities with those of Klimt,^[6] as well as influences from Art Nouveau.^[7] In 1910, Schiele began experimenting with nudes and within a year a definitive style featuring emaciated, sickly-coloured figures, often with strong sexual overtones. Schiele also began painting and drawing children.^[8]

Self portrait

Progressively, Schiele's work grew more complex and thematic, and after his imprisonment in 1912 he dealt with themes such as death and rebirth,^[9] although female nudes remained his main output. During the war Schiele's paintings became larger and more detailed, when he had the time to produce them. His military service however gave him limited time, and much of his output consisted of linear drawings of scenery and military officers. Around this time Schiele also began experimenting with the theme of motherhood and family.^[10] His wife Edith was the model for most of his female figures, but during the war due to circumstance, many of his sitters were male. Since 1915, Schiele's female nudes had become fuller in figure, but many were deliberately illustrated with a lifeless doll-like appearance. Towards the end of his life, Schiele drew many natural and architectural subjects. His last few drawings consisted of female nudes, some in masturbatory poses.

Some view Schiele's work as being grotesque, erotic, pornographic, or disturbing, focusing on sex, death, and discovery. 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.^[11]

Legacy

Max Oppenheimer 1910

 

Schiele was the subject of the biographical film, Excess & Punishment (aka Egon Schiele Exzess und Bestrafung), a 1980 film originating in Germany with a European cast that explores Schiele's artistic demons leading up to his early death. The film was directed by Herbert Vesely and stars Mathieu Carriere as Schiele, Jane Birkin as his early artistic muse Wally Neuzil, Christine Kaufman as his wife, Edith Harms, and Kristina Van Eyck as her sister, Adele Harms. Also in 1980, the Arts Council of Great Britain produced a documentary film, Schiele in Prison, which looked at the circumstances of Schiele's imprisonment and the veracity of his diary.^[12]

 

Joanna Scott's 1990 novel Arrogance was based on Schiele's life and makes him the main figure. His life was also depicted in a theatrical dance production by Stephan Mazurek called Egon Schiele, presented in May 1995, for which Rachel's, an American post-rock group, composed a score titled Music for Egon Schiele.^[13] For The Featherstonehaughs contemporary dance company, Lea Anderson choreographed The Featherstonehaughs Draw on The Sketchbooks Of Egon Schiele in 1997.^[14]

Schiele's life and work have also been the subject of essays, including a discussion of his works by fashion photographer Richard Avedon in an essay on portraiture entitled "Borrowed Dogs."^[15] Mario Vargas Llosa uses the work of Schiele as a conduit to seduce and morally exploit a main character in his 1997 novel The Notebooks of Don Rigoberto.^[16] Wes Anderson's film The Grand Budapest Hotel features a painting by Rich Pellegrino that is modeled after Schiele's style which, as part of a theft, replaces a so-called Flemish/Renaissance masterpiece, but is then destroyed by the angry owner when he discovers the deception.

 

Julia Jordan based her 1999 play Tatjana in Color, which was produced off-Broadway at The Culture Project during the fall of 2003, on a fictionalization of the relationship between Shiele and the 12-year-old Tatjana von Mossig, the Neulengbach girl whose morals he was ultimately convicted of corrupting for allowing her to see his paintings.^[18]

 

 

Sales and collections

Portrait of Wally, 1912

Portrait of Wally, a 1912 portrait, was purchased by Rudolf Leopold in 1954 and became part of the collection of the Leopold Museum when it was established by the Austrian government, purchasing more than 5,000 pieces that Leopold had owned. After a 1997–1998 exhibit of Schiele's work at the Museum of Modern Art in New York City, the painting was seized by order of the New York County District Attorney^[19] and had been tied up in litigation by heirs of its former owner who claim that the painting was Nazi plunder and should be returned to them.^[20]

The dispute was settled on July 20, 2010 and the picture subsequently purchased by the Leopold Museum for 19 million US$.^[21] In 2013, the museum sold three drawings by Schiele for £14 million at Sotheby's London in order to settle the restitution claim over its 1914 Schiele painting Houses by the Sea.^[22] The most expensive, Liebespaar (Selbstdarstellung mit Wally) (1914/15), or Two lovers (Self Portrait With Wally), raised the world auction record for a work on paper by the artist to £7.88 million.^[23]

The Leopold Museum, Vienna houses perhaps Schiele's most important and complete collection of work, featuring over 200 exhibits. The museum sold one of these, “Houses With Colorful Laundry (Suburb II)”, for $40.1 million at Sotheby's in 2011.^[24] Other notable collections of Schiele's art include the Egon Schiele-Museum, Tulln, the Österreichische Galerie Belvedere, and the Albertina Graphic Collection, both in Vienna.

On June 21, 2013 Auctionata in Berlin sold a watercolor from 1916, "Reclining Woman" at an online auction for €1.827 million (US $2.418 million). This is a world record for the most expensive work of art ever sold at an online auction.^{[25] [26][27]}

Self portraits

• 

  _{Self portrait, 1910}

• 

  _{Self portrait grimacing, 1910}

• 

  _{Self portrait with black clay pot, 1911}

• 

  _{Self-portrait with his head down, (1912)}

• 

  _{I shall endure for art and for the happiness of my lover. Self-portrait of Schiele in jail, 1912}

• 

  _{Lovers - Self-Portrait With Wally, c. 1914 – 1915}

• 

  _{Self portrait, 1914}

• 

  _{Self portrait, 1915}

Figurative works

• 

  _{Girl with black hair 1910}

• 

  _{Reclining nude, 1910}

• 

  _{Nude with Red Garters, 1911}

• 

  _{Semi-nude Reclining 1911}

• 

  _{Valerie Neuzil in black stockings, 1913}

• 

  _{Friendship, 1913}

• 

  _{Seated female nude with elbows propped, 1914.}

• 

  _{Frederike Beer, 1914}

• 

  _{Blonde girl in green stockings, 1914}

• 

  _{Green Stockings, 1914}

• 

  _{Two Women}

• 

  _{Mother with two children II - 1915}

• 

  _Children

• 

  _{Pair embracing, 1917}

• 

  _{Woman (1917).}

• 

  _{Kneeling Girl, Resting on Both Elbows 1917}

• 

  _{Seated woman with bent knee, 1917}

• 

  _{Sitting girl, 1917}

• 

  _{Nude 1917}

• 

  _{The Family, 1918}

Landscapes

• 

  Die kleine Stadt II, 1912–1913. View of Krumau an der Moldau

• 

  Four trees (Vier Bäume), 1917

• 

  Stein an der Donau II, 1913

• 

  The Bridge (Die Brücke), 1913

• 

  Old Mill (Alte Mühle), 1916

• 

  House with Shingles, 1915

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