The First Art Newspaper on the Net   Established in 1996 United States Tuesday, July 16, 2019


New scholarship on Egon Schiele's 1910 male nudes announced by Jane Kallir
Egon Schiele, Reclining Male Nude, 1910. Watercolor and black crayon on paper. Signed and dated, lower left. 12 3/8" x 17 3/4" (31.4 x 45.1 cm). Kallir D. 663. Private collection.


NEW YORK, NY.- A group of 1910 drawings by Egon Schiele, previously thought to be self-portraits, are in fact portraits, says Jane Kallir, the author of the catalogue raisonné on Egon Schiele and co-director of Galerie St. Etienne. Several of the works will be part of a new exhibition Egon Schiele: In Search of the Perfect Line from November 1, 2018, through March 2, 2019, at Galerie St. Etienne. Marking the 100th anniversary of Schiele’s death in 1918, the exhibition of nearly 50 watercolors and drawings is curated from numerous private collections, providing a rare, comprehensive overview of Schiele’s artistic development. A number of the works, including several iconic self-portraits, have not been on public view in more than 20 years. Galerie St. Etienne mounted Schiele’s first American solo exhibition in 1941.

Schiele’s male nudes from 1910, which are known to Schiele fans as the ‘Red Men,’ have long been considered self-portraits. Kallir’s knowledge of the artist’s friends and models at that time caused her to think differently about them. When she was writing the book Schiele’s Women (Prestel, 2012) and curating the accompanying exhibition for the Belvedere museum in Vienna, she had a revelation: Could it be that, since homosexuality was illegal in early 20th century Vienna, the true identity of these subjects was concealed, first by Schiele and then by subsequent biographers? Under the circumstances, it was probably safer to consider the works self-portraits than to admit that Schiele may have been depicting gay men.

The idea came back to life this summer as Kallir was updating the artist’s catalogue raisonné, which will be unveiled in digital format on November 1 this year. In most of the 1910 male nudes, the artist’s vantage point – from behind or above – precludes the possibility that he himself could have modeled. Kallir further asserts, “Schiele doesn’t hide his identity in his numerous self-portraits, and almost all the ‘Red Men’ are faceless.” Kallir, whose research revealed that Schiele had a brief homosexual liaison in the summer of 1910, also knew that during this period he had two close artist friends, Max Oppenheimer and Erwin Osen, who were, respectively, gay and bisexual. She believes that it is likely that one or both of these friends modeled for the male nudes.

“While I mentioned my hunch in Schiele’s Women, I can now say that there is no question in my mind that Egon Schiele’s so-called ‘Red Men,’ are indeed portraits, not self-portraits as previously thought,” said Kallir. “There is no way he would depict himself with his face obscured. All of his self-portraits are so obviously him.”

Several of the ‘Red Men’ portraits will be on view in Egon Schiele: In Search of the Perfect Line. The exhibition will link Schiele’s drawings together to tell the story of the artist’s brief life, which ended when he died of the Spanish Flu at age 28. One of the greatest draughtsmen of all times, Schiele drew almost daily, using the medium to record his fluctuating responses to the basic problems of human existence: sexual desire, personal identity, and the tenuousness of life. His works—and the works in the exhibition—thus function as a visual diary, tracing the artist’s emotional and creative development from adolescence to adulthood.

The exhibition will begin with a 1906 self-portrait: Done the year Schiele gained admittance to the prestigious Vienna Academy of Fine Art, it shows the sixteen-year-old proudly wearing the traditional garb of an artist. By 1910, Schiele had dropped out of the Academy, frustrated with its conservative rules. During this breakthrough year, he not only painted the ‘Red Men,’ but made his first tentative explorations of female sexuality. At the start of the year, his most reliable female model was his sister Gerti, a compliant and totally unthreatening subject who would go on to model professionally. She can be seen in his Portrait of a Woman in an Orange Hat (1910).

In early 20th-century Austria, young men were encouraged to “sow their wild oats” with prostitutes before settling down at around the age of 25. However, when Schiele left the urban environment of Vienna for the rural town of Neulengbach, his open cohabitation with his model, Wally Neuzil, raised eyebrows. In April 1912, a teenage runaway asked the couple to take her to her grandmother in Vienna. Although they brought the girl back a day later, her father had already filed charges of kidnapping and statutory rape. The charges were dropped once an investigation was conducted. But a new charge stuck: the artist was sentenced to 24 days in jail for “pubic immorality,” because minors had visited his studio and been exposed to erotic works of art. Included in the exhibition is a 1912 self-portrait, painted shortly after Schiele was released from prison that reflects his traumatized emotional state.

True to contemporary custom, Schiele married at the age of 25, choosing not Wally but a proper bourgeois young lady, Edith Harms. Whereas Wally had been a full partner in Schiele’s artist mission, Edith found it hard to adjust to her husband’s bohemian ways. Less out of prudery than embarrassment, she was reluctant to pose naked. She feared, understandably, being recognized by the couple’s family, friends, and acquaintances. A 1915 portrait, Woman Holding Flower (Edith Schiele), evokes the subject’s wistful sadness.

Given his wife’s reluctance to pose, most of Schiele’s later nudes depict professional models. In 1917-18, the artist reverted to an almost classical realism: in tandem with a more three-dimensional coloring style, his lines became smoother and rounder. This increased naturalism served to accentuate the subjects’ autonomy. Schiele’s nudes and semi-nudes are considered among the first modern women in art; the first to command their own sexuality.

Jane Kallir is the author of catalogue raisonné "Egon Schiele: The Complete Works" (1990; revised edition, 1998) as well as 9 books and more than 20 articles on Schiele. Most recently, she wrote catalogue essays for the exhibitions Egon Schiele: Pathways to a Collection at the Lower Belvedere, Vienna (October 19, 2018, through February 17, 2019), and Klimt/Schiele: Drawings from the Albertina Museum, Vienna at the Royal Academy of Arts, London (November 4, 2018, through February 3, 2019). Kallir also contributed to the catalogue for the exhibition Egon Schiele at the Fondation Louis Vuitton, Paris (October 3, 2018, through January 14, 2019).





Today's News

October 6, 2018

Exhibition at Museum of Modern Art explores the prolific career of Charles White

New auction record set for a living female artist

Robin Williams memorabilia fetches $6.1 million in New York

Neue Galerie opens first exhibition in the U.S. on the art of Franz Marc and August Macke

Sotheby's to offer a restituted masterpiece by Egon Schiele this November in New York

Mary McCartney gifts major photographic series to the V&A for display in new Photography Centre

New scholarship on Egon Schiele's 1910 male nudes announced by Jane Kallir

Aleksandr Rodchenko's 'Girl with a Leica' leads Sotheby's $4 million Photographs Auctions in New York

New exhibition at Hever Castle tells the story of the Tudors and reveals the risks of royal marriages

Love me fender: Elvis' last Cadillac up for sale in Austria

First U.S. museum survey of New York-based sculptor B. Wurtz on view at The Institute of Contemporary Art, Los Angeles

Freeman's announces sale of British & European Furniture and Decorative Arts including Silver and Russian Works of Art

Major Harald Sohlberg exhibition opens at the National Museum of Norway

First large-scale museum survey of Metahaven opens in Amsterdam

"Embroidery: The Thread of History" at Winterthur explores needlework as a document of record

The New-York Historical Society opens "Harry Potter: A History of Magic"

China Guardian Hong Kong 2018 auctions bring US$ 141.8 million

Baltimore Museum of Art opens major retrospective of visual art by John Waters

France bids farewell to singer Aznavour, its little 'giant'

"Common Threads: Weaving Stories Across Time" opens at Isabella Stewart Gardner Museum in Boston

The Ukrainian Institute of America opens an exhibition of contemporary decorative and wearable fabric art

Antonia Jannone Gallery in Milan opens exhibition of works by Sergei Tchoban

Russian bronze sculpture leads Heritage Auctions' Fine & Decorative Arts auction beyond $1.7 million

Cooper Hewitt opens "Tablescapes: Designs for Dining"

Most Popular Last Seven Days



1.- Original 'Star Wars' creators lift lid on special effects challenges

2.- Lost '$170 million Caravaggio' snapped up before French auction

3.- Mansell's 'Red Five' on pole for Bonhams sale

4.- Impressionism's 'forgotten woman' shines in new Paris show

5.- Sotheby's to auction the best-surviving NASA videotape recordings of the Apollo 11 Moon Landing

6.- Exhibition explores Dutch and Spanish painting of the 16th and 17th centuries

7.- Cyprus discovers 'first undisturbed Roman shipwreck'

8.- Sotheby's unveils 'Treasures from Chatsworth' with Leonardo Da Vinci drawing, Lucian Freud portraits, and more

9.- Infamous botched art restoration in Spain gets makeover

10.- 1958 Gibson Flying V Korina played by Dave Davies to grab center stage in Heritage Auctions' sale



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful