Egon Schiele is known as the painter of anxiety, sexuality and death – a combination of which makes his paintings provocative, twisted, slightly morbid and trashy. Schiele was too radical for his contemporaries but later on he proved to be an inspiration for pop icons and rock stars from David Bowie to Manic Street Preachers.
Many artists painted nudes, but Schiele’s nudes are certainty one of the most striking. Titian’s Venus of Urbino, Goya’s The Nude Maja, Manet’s Olympia – none of these masterpieces are as eye-catching, as disturbing or as decadent as any of Schiele’s nude or semi-nude women with pale skin, ribs sticking out, untamed pubic hair, dark circles underneath the eyes, overall unsettling appeal – Schiele defined ‘heroin chic’ look eighty years before it was trendy. And I’m sure Kate Moss would be more than welcomed to pose for him because Schiele’s ideal was a fragile and lean body.
Twisted body shapes and very sexualised poses typical for Schiele’s oeuvre raised the dust in conservative society of the decaying Austro-Hungarian Empire. Poses, more than nudity, shocked the audience. His anti-academic tendencies and subjectiveness to the core drove him to explore human body and perspectives like no one else at the time. He captured his models in bizarre movements and weird, probably uncomfortable poses. Often, he’d step on the ladders and draw the model from above. The process of sketching is interesting as well. Schiele was very skilled in drawing, had a firm hand, never used a rubber, and if he did make a mistake, which was rare, he’d simply throw the paper away. Schiele’s paintings were based on lines, just like those of Ingres. He’d always colour his drawings in the absence of the model, working from the memory. This was probably good for the models because it meant that they didn’t have to spent a lot of time in those awkward poses – sketching was quickly done, and they could get their money and go home. About his fragile, world-weary figures Schiele said: ‘They were intended to look buckled under, the bodies of those who are tired of life, suicidal.‘
It’s easy to see the similarities between Schiele’s expressive, twisted body shapes and Kevin Cummins’ photo of Nicky Wire and Richey Edwards of the Manic Street Preachers. Wire is in a leopard print shirt, Edwards in a black crocheted top; they both have make-up, this, along with the gold background certainly evokes the ‘trashy glam look’ that Cummins was aiming for. Still, the position of their bodies, their hands interwoven, along with love-bites and slogans written on their chests evoke a slightly nihilistic, anxious mood of Egon Schiele’s paintings. Also, with his angular face and messy hair, Edwards does look a bit like some poor girl Schiele would pick up from the streets and use as his model.
And now a bit about the Manic Street Preachers’ first ever NME cover shoot:
”The May 1991 NME cover of Nicky and Richey was photographed by Kevin Cummins. ‘This was their first NME cover’, he says, ‘I bought the gold sari cloth to give it a trashy glam look – although it’s since drawn comparisons to the paintings of Egon Schiele, with the gold backdrop and the slightly twisted bodies‘. The cover image showed the two band members on their backs, gazing up at the camera. Wire has his right arm around Edwards’ shoulders and Edwards is pressing it to his chest. Both have panda-eyed make-up. Wire is in a leopard print shirt, open to below his nipple, while Edwards has a black crocheted top. Before the shot, they’d decided that they should both have a collection of love-bites on display and so the night before they had gone nightclubbing to try and get some. Wire succeeded but Edwards didn’t, much to his own disgust. In the photo studio, Kevin Cummins wrote ‘Culture Slut’ across Nicky Wire’s upper chest in lipstick. Edwards, upset about losing the love-bite competition, was determined not to be upstaged. He produced a school geometry compass and wandered over to a mirror, where he scratched ‘HIV’ into his upper chest. But he forgot he was looking at his reflection so what he actually wrote was ‘VIH’. It still made the cover.”* (A Version of Reason: The Search for Richey Edwards, by Rob Jovanovic)