Tag Archives: Egon Schiele

Egon Schiele – Portrait of Edith in a Striped Dress

21 Mar

Egon Schiele’s portrait of his wife Edith in a colourful striped dress is something quite unusual and new in his art, and her face, full of naivety, sweetness and innocence seems so out of place amongst his usual female portraits, nudes and half-nudes, with a decaying heroin chic appeal. Where did this change of style come from?

Egon Schiele, Portrait of Edith Schiele, the artist’s wife, 1915

When I first saw this portrait, I loved the stripes on the dress for they seemed so alive, so intricate and colourful, and yet the quality of the colour is murky and earthy, as usual in Schiele’s palette. I was also amused by her face expression, but my interest quickly turned to Schiele’s alluring nudes. What can this portrait show us, apart from the fact that Edith loved wearing striped dresses? Well, it’s a psychological study which shows us Edith’s true personality. Let’s say that her true colours shine through. Look at her – she looks awkward and artless, she is clumsy and doesn’t know what to do with her hands, her eyes are wide open and eyebrows slightly raised, her lips are stretched in a weird, shy smile, as if she’s in the spotlight but wants to get away, she’s pretty but not exceptional, timid but not gloomy. Prior to marrying Schiele, Edith led quite a sheltered life, with her sister Adele and her conservative parents.

In Spring of 1914, Schiele noticed that there were two pretty young girls living just across his flat. Naturally interested, he started thinking of ways to meet them which was hard because the girls lived under the watchful eyes of their mother. They started waving each other through the window, and sometimes Schiele would paint a self-portrait and show it to them through the window. Surely by now, both Edith and Adele had dreamt of meeting that cheeky, arrogant but charming artist across the street. Schiele started sending them little notes, the content of which must have made Edith and Adele blush and giggle, but they never replied to any of them for a year. They met with Wally’s help, and all four went to the theatre or cinema together. Needless to say that the cynical Schiele was interested in both girls, in fact, for some time he couldn’t decide whether he wanted to marry Edith or Adele. Crazy situation, but luckily for him, it turned out that Adele wasn’t really interested so he settled on Edith and they got married, despite the strong disapproval of her parents, on 17 June 1915, which was the anniversary of the marriage of Schiele’s parents.

Scenes from ‘Egon Schiele: Excess and Punishment’ (1981)

I can understand why Edith liked Schiele, women always go for the bad guys; he was an artist, straightforward about what he wanted, he had a bad reputation and was once imprisoned for pornographic art, and, admit it or not, there’s something romantic about criminals. What remains a mystery to me is why Schiele liked her? What could this timid, shy, proper and frightened girl had to offer him? Most importantly, what was it so appealing about Edith that the witty, funny street-wise, experienced Wally didn’t have?

We sense here the conflicting emotions that Edith must have caused in Schiele: a quiet pleasure in her innocence, a satisfaction with her selfless loyalty mixed with frustration at her lack of of sexual energy. Schiele makes her seem passive and whilst he found vulnerability attractive he must also have longed for those quite different qualities which Wally possessed in abundance: the kind of temperament and aggressive eroticism which made Schiele himself feel vulnerable.“*

Edith was portrayed well in the film Egon Schiele: Excess and Punishment (1981). If I remember well, in one scene she’s sitting in Schiele’s lap and he shows her some of his erotic drawings, and she throws a quick shy glance, giggling and blushing, and you can see that she’s at unease with the nude models in his studio, stretching in different poses. She wanted to pose for him so he wouldn’t look at other women, but she just couldn’t satisfy his artistic demands. Again, that’s something that Wally did more than well.

Where did this wish to settle down, this wish for security come from? It seems like he wanted to indulge in a bourgeois life all of a sudden. Also, his decision to marry Edith and not Wally shows the double standards typical for men of his time; Wally was an artist’s model, a position practically equal to that of a prostitute, and as much as he loved her aggressive eroticism, he still wanted his wife to be modest and chaste. In the portrait of Edith in a striped dress from the same year, again her shyness shines through. Look at her eyes, frightened like that of a delicate fawn in the forest glade, and her sloping shoulders, almost crouching under the weight of the artist’s gaze, her hands in her lap; she looks like a child forced to sit still against its wish. Schiele always painted his middle-class wife modestly dressed, with a stiff collar and long sleeves, whereas looking at the pictures of Wally we know only of her petticoats, lingerie and stockings, not of her hats and dresses. Without a doubt, Edith loved Schiele, but she couldn’t understand his art.

Egon Schiele, Portrait of Edith Schiele with striped dress, 1915

Their marriage didn’t last long for they both died in that sad autumn of 1918. First World War had just ended, Spanish flu had taken many lives, amongst its victims were Edith who died six months pregnant on 28th October, and Schiele who died a few days later, on 31st October.

Everything that is sad, and occurs in autumn, gets imbued with an even greater sadness, but Autumn was Schiele’s favourite season, he wrote ‘I know there is much misery in our existence and because I find Autumn much more beautiful than every other season…. It fills the heart with grief and reminds us that we are but pilgrims on this earth…’ He also wrote in his short lyrical autobiography: ‘I often wept through half-closed eyes when Autumn came. When Spring arrived I dreamed of the universal music of life and then exulted in the glorious Summer and laughed when I painted the white Winter.’ The fresh, new, dreamy Spring of his art is forever tied with the image of cheerful Wally in her stockings, forever smiling from the canvas, and so the Autumn of his art is tied with Edith’s timid half smile and her striped dress. First symbolises his rapture, the latter his gloom, which Kundera later wrote in his book Slowness as two main characteristics of central European mentality. Rapture and gloom, life and death, Eros and Thanatos; all intertwined in Schiele’s paintings.

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*Egon Schiele, Frank Whitford

Egon Schiele’s Muse Wally Neuzil – Woman in Black Stockings

17 Mar

In 1911, Egon Schiele met a woman. She was seventeen, bright eyed, fun, amiable, not a bit shy or innocent. Her name was Valerie ‘Wally’ Neuzil, and she was just what both Schiele and his art needed. In that short period of time, Schiele’s art blossomed, and Wally was his muse, his lover, his friend. Their story is the one of obsession, love, betrayal, erotic exploration, and death – death of an artist, death of a muse, death of a whole empire and death of an era.

Egon Schiele, Woman in Black Stockings, 1913

When you spend hours looking at portraits of people who have been dead for years, or portraits of people who never existed, you start to feel that you know them, but that’s just an illusion. Likewise, when you look at Schiele’s portrait of Wally in black stockings and white lingerie, with bare shoulder, and her head leaned on the side, with that gorgeous yellow hair, you feel that she’s so close to you, that you know her. She’s looking at you with a friendly gaze that invites you to come closer. In the portrait below, Wally’s big doll-like blue eyes seem like windows into her soul, and yet for the art world she is a woman of mystery, secrets and speculations are wrapped around her life and character like a spider’s web so the only thing that’s left is to guess and daydream.

What was Wally’s family life like, her childhood, her education? We don’t know. The circumstances surrounding their first meeting also remain shrouded in mystery. All we know is they met in 1911, when she was seventeen and he was twenty-one, already drawing his erotic Lolita-esque fantasies and provoking the public of Vienna. Wally was first Klimt’s model so it’s possible that Klimt send her to Schiele, and it’s also possible that he saw her in Schönbrunn Park or somewhere on the streets of Vienna, and approached her because her appearance suited his aesthetic visions. So young and her life already revolved around art and her artistic journey was that from Klimt’s canvas to Schiele’s, from Klimt’s bed to Schiele’s.

Egon Schiele, Portrait of Wally, 1912

A first Wally lived in her own flat and Schiele paid her for her modelling services, but as their relationship progressed, she moved in with him. It’s safe to assume Wally was an amiable, good-natured, eager to help and please, but also very pretty, fun, charming, witty, close to Schiele in age and interests. She really was everything Schiele, as an artist and a man, needed; she posed for him, she did household chores, and she acted as his messenger, carrying his erotic drawings to his clients who, even though she wasn’t timid, often managed to reduce her to tears with their sharp cruel remarks. As Vienna was getting more dark and oppressive for Schiele, his thoughts wandered to the forests, meadows, morning mists and sunny afternoons of his imagined countryside paradise where his art would flourish. And so they moved to Krumau, a picturesque little town south of Prague, and later to Neulengbach, near Vienna.

Imagine their days in Krumau and Neulengbach as their little hippie getaway; a place where bright sunflowers grow by the wooden fence, grass is fresh and green, and air is exhilarating after spring rain, houses are small with little windows with flowing white curtains, letting in the sunshine and the gentle breeze, a place where birdsong is the only music, and butterflies are dancers. There, Wally would sit or lie on the bed, wide smiled, with rosy cheeks and a spark in her eyes, dressed in her lingerie and stockings, with maybe a ribbon in her hair, throwing inviting glances to Schiele and now to us viewers. These drawings of Wally seem so alive, so full or ardour, passion, adoration, they’re not as twisted and strange as his nudes tend to be, on the contrary, they seem to tactile, so full of warmth, colour and richness; you can feel the idyllic mood of their days in the countryside, you can feel Wally’s gaze filling you with warmness, you can see her eyes radiating playfulness. In the first painting, her golden hair stands out, but the one below is harmony of rich warm tones of yellow and orange which presents us with a brighter side of Schiele’s life, away from gloom and conviction of Vienna. These drawings had shifted Schiele’s role from that of an observer to that of a participant: ‘These drawings are the expression of a physical passion so unequalled in Schiele’s life. Earlier drawings of similar subjects are, by comparison, those of a voyeur. These speak with delight of participation.’* Picture of Wally wearing a red blouse, lying on her back, with her hand under her chin, looking directly at us, made quickly and then filled with colour, tells us that once, for a moment, everything was perfect.

If you enlarge the picture, you’ll notice her eyebrows painted in one single stroke, and the hints of dark blue around her eyes, which are brown all of sudden. The position of her right hand and her hair colour are just adorable to me. I wish I could tell you that this is where their happy story ends, that they dissolved into that beauty, died and became sunflowers in the garden, but the reality dipped its wicked fingers into their lives. First came the infamous Neulengbach affair; Schiele was accused of seducing a girl below the age of consent and his ‘pornographic’ drawings were condemned, but that’s for another post, and then there was another woman – Edith Harms.

Egon Schiele, Wally in a Red Blouse Lying on her Back, 1913

The end of their artistic and love affair is as bitter as it gets. Wally was the one who introduced Schiele to Edith, and now he is leaving her for that woman. Ouch… As time passed, Schiele and Edith got romantically engaged, and he planned to marry her, but what of Wally, where is her place in the story? Well, Edith wanted a ‘clean start’, as she wrote to Schiele in a letter, and demanded that he broke all connections to Wally.

Schiele and Wally met for the last time in the Café Eichberger. Schiele spoke not a word, but instead handed her a letter in which he proposed this arrangement; he marries Edith but gets to spend every Summer with Wally, alone. Wally was disgusted with the idea and declined. Schiele resigned ‘lit a cigarette and stared dreamily at the smoke. He was obviously disappointed. Wally thanked him for the kind thought… and then departed, without tears, without pathos, without sentimentality.‘*

Wally and Schiele never met again. First World War was in the full swing, and Wally, who never married, became a nurse, went to care for soldiers near Split in Dalmatia, part of today’s Croatia, where she died from scarlet fever just before Christmas 1917.

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*Egon Schiele, Frank Whitford

Gustav Klimt – Valley of the Dolls

5 Mar

In a transitional period from his ‘erotic-symbolist Golden phase’ to his highly decorative and vibrant Japanese inspired phase, Klimt painted these gorgeous and aloof femme fatales: a subject so popular in fin de siecle. These two ladies are not mythical creatures, they look like real Viennese women and they’re impatient, they’re waiting, wrapped in their fur, adorned with the finest Art Nouveau jewellery, they’re glancing at you with disdain, they’re throwing darts in the eyes of their lovers.

1909-gustav-klimt-lady-with-hat-and-feather-boa-1909-4Gustav Klimt, Lady with Hat and Feather Boa, 1909

End of the first decade of the twentieth century brought some changes for Klimt; his gorgeous studies in gold with intricate details and stylised forms were slowly becoming passé. Rise of the Expressionism denoted the end of his ‘golden phase’. In his paintings such as ‘The Kiss’, Klimt painted his figures in shining yellow fabrics, decorated with tiny golden leaves, against luminous golden backgrounds, floating in a highly decorative world of his imagination. This excessive decorative element in his art prevented him from delving into psychological depth and achieving the emotional intensity of the portrayed figure, and that’s something that painters like Schiele and Kokoschka did very well . In 1909, Klimt travelled to Paris where he discovered the works of Henri de Toulouse-Lautrec and the Fauvists. These encounters with the new streams in the artistic world, as well as his friendship with the younger artist Schiele, all inspired him to reinvent his style.

La Belle Epoque fashion looks as if it was made for femme fatales – it’s exuberant, it’s glamorous; wide-brimmed hats with feathers, fur muffs, voluminous hairstyles, large choker necklaces, long flowing dresses with lace details… Klimt was very much in tune with the fashion of the day because his life companion Emilie Flöge happened to be a fashion designer. Klimt also helped in designing the dresses by making the patterns. In this transitional period, Klimt dressed his femme fatales not in gold but in lace and perfumes and jewels and rouge; he tamed them, he made them into fashionable little dolls who are impatiently waiting to be played with, to be admired. These creatures are vain and aloof but not as sinister and destructive as Franz Stuck’s dark female figures filled with lust and anxiety. Klimt also tamed his lust for excessive ornamentation by painting the background in one colour instead of the usual vibrant kaleidoscope of shapes and patterns.

Painting Lady with Hat and Feather Boa has a strangely dark colour palette, unusual for Klimt’s typical vibrant pinks, yellows and greens. The lady has an amazing face expression; her downward tilted eyes are fixated on something on her right which we can’t see, and her eyebrows are sharp and angry. Her face has been haunting me for weeks! And that peacock blue line on her hat, and the feathers, painted in swirling, near abstract motions. Her wild red hair, and gorgeous lips peeking from that feather boa, oh she’s a real femme fatale. You can imagine her getting out of the carriage, somewhere on the streets of Vienna, opening her parasol, blind to every eye she meets, with a gaze that says: ‘You’re not fit to polish my boots!’

1910-gustav-klimt-black-feature-hat-1910Gustav Klimt, Black Feather Hat (Lady with Feather Hat), 1910

On the other hand, Black Feather Hat (Lady with Feather Hat) is somewhat different in mood and style. Our redhead beauty above looks gorgeous and vivacious like Klimt’s women usually do, but this one looks a tad different – there’s a subtle nihilism in those white-grey shades, a hint of Egon Schiele and the fin de siecle nervousness. Look at her angular face and the way her hand is painted; it looks like something you’d see on Schiele’s paintings. Truth is, Schiele was initially inspired by Klimt, but Klimt also learner something from his young independent-minded pupil. Again we see this gorgeous La Belle Epoque fashion, and again this femme fatale is looking into the distance, we don’t know what occupied her attention, or whose face lingers on her mind.

Manic Street Preachers – Little Baby Nothing

8 Feb

I often share poems on my blog, but why not share the lyrics of a rock song? As far as I’m concerned, their artistic value is the same, and often the lyrics of The Smiths, Manics, Syd Barrett etc. hold more meaning to me and I can relate to them more than I can to ‘classic’ poetry. Little Baby Nothing is THE first song by the Manic Street Preachers that I’ve listened to, and what can I say – it was love at first sight (or first hearing ha ha). This Friday, 10th February, will mark the 25th anniversary of their debut album Generation Terrorists. This is not my favourite song by the Manics, nor my favourite video, but objectively looking I think the lyrics are amazing and every line is perfect. Some of their lyrics, specially from The Holy Bible, can be a bit confusing, although they sound great accompanied by the music, but ‘Little Baby Nothing’ can be read on its own, like poetry and it would still be as meaningful. In their interview from 1992, Nicky Wire said that ‘men are the most horrible creatures because they use women’ and that the song is about a woman who had power and intelligence and was used by men. Therefore, having Traci Lords to sing some lines was more symbolic than anything, and they felt she could identify with the lyrics. One of their later songs, Yes, also deals with the exploitation of women, but it also says that every time you say ‘yes’ to something you don’t want to do, it’s also a form of prostituting yourself. And of course, the glorious line ‘Culture, Alienation, Boredom, and Despair‘ which perfectly sums everything that their early songs were about.

Here’s what Traci Lords said about Richey and the song: “He reminded me of a young David Bowie: very avant-garde, and there was something quite feminine about him. He was very soft-spoken, and struck me as being vulnerable, almost birdlike. He definitely came across as someone who was living in a glass-house, in some sort of fragile state. I thought he was lovely. He never spoke to me about why he wanted me to sing on ‘Little Baby Nothing’ – it wasn’t until later that I read his reasons for it. It’s funny because I saw Richey as someone who was very vulnerable, and that’s how he saw me“. (NME, 14 February 2015)

I’m glad they chose Traci Lords, not only because she totally fits with the lyrics, but also because I’ve liked her ever since I watched ‘Cry-Baby’ (1990), I thought she was the coolest character in the film! And judging her character and morality based on her ex-porn-star career would be hypocritical and immature. Even the Manics said in the same interview that she was the most intelligent American they’ve ever met in their lives!

1913-woman-in-black-stockings-egon-schieleEgon Schiele, Woman in Black Stockings, 1913

“No one likes looking at you
Your lack of ego offends male mentality
They need your innocence
To steal vacant love and to destroy
Your beauty and virginity used like toys

My mind is dead, everybody love’s me
Wants a slice of me
Hopelessly passive and compatible
Need to belong, oh the roads are scarey
So hold me in your arms
I wanna be your only possession

Used, used, used by men
Used, used, used by men

All they leave behind is money
Paper made out of broken twisted trees
Your pretty face offends
Because it’s something real that I can’t touch
Eyes, skin, bone, contour, language as a flower

No god reached me, faded films and loving books
Black and white TV
All the world does not exist for me
And if I’m starving, you can feed me lollipops
Your diet will crush me
My life just an old man’s memory

Little baby nothing
Loveless slavery, lips kissing empty
Dress your life in loathing
Breaking your mind with Barbie Doll futility

Little baby nothing
Sexually free, made-up to breakup
Assassinated beauty
Moths broken up, quenched at last
The vermin allowed a thought to pass them by

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

You are pure, you are snow
We are the useless sluts that they mould
Rock ‘n’ roll is our epiphany
Culture, alienation, boredom and despair

Now, who’s to say something can’t be aesthetically pleasing and have a strong social message at the same time?

Did I also mention that the video is cool? Well, check it out and decide for yourself.

Egon Schiele – Melancholy of Suburbs and Small Towns

27 Jun

Suburbs and small towns of Middle Europe held a particular charm for Egon Schiele who often yearned to escape the ‘dark and dreadful’ city of Vienna, and venture to provinces and nature around the Czech town of Krumau.

1918. Edge of Town (Krumau Town Crescent), 1918 Egon SchieleEgon Schiele, Edge of Town (Krumau Town Crescent), 1918

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Schiele’s paintings of Krumau from early 1910s offer a decaying vision of this peaceful town situated in the South Bohemia. Unlike the Impressionists who simply couldn’t resist capturing the moment and the play of sunlight on bridges or cathedrals, Schiele captured his inner turmoil while simultaneously portraying the colourful facades and narrow streets of Krumau. From the pictures I’ve seen, Krumau seems like an interesting town and its beauty reveals itself in many aspects; from the mischievous river Vltava and the illustrious Medieval castle overlooking the town, to cobble streets and classic Central European architecture. However, on Schiele’s paintings, the town holds a different appeal. Look at the painting ‘Edge of Town’; crowded houses and intermingled roofs, radiant colours and simplified brushstrokes – like a kaleidoscop of colours and shapes. Schiele himself was never a disciple of accuracy in portrayal of landscapes. And thank God for that, because the very sight of ‘normal’ veduta makes my skin crawl! In Schiele’s paintings there’s intensity, emotions and chaos.

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1915. House with Shingles by Egon SchieleEgon Schiele, House with Shingles, 1915

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Town of Krumau first caught Schiele’s attention in May 1910 when he, a month shy from his twentieth birthday, visited the place with two comrades and fellow painters; Anton Peschka and Ervin Osen. The town must have seemed like an interesting place for him because it was the birthplace of his mother, and he must have heard about the beautiful nature that surrounds it. On the whole, he settled there, in a ‘little house with a garden on the Moldau (Vltava) River’*, in May 1911, along with Wally Neuzil, his lover and model.

When painting suburbs and small town scenes, Schiele placed his focus not on details and photographic precision, but rather on the mood of the place. To understand why he liked small towns and suburbs you need to know his opinion of big towns and cities. It wasn’t just Schiele, but his whole generation, the artists and the poets, who deliberately continued in their work the fin de siecle vision of cities as places of decay and loss of humanity. For them, modern life and its reflection – the cities, along with the horrors of the First World War, were seen as the products of ‘materialistic tendencies of our civilisation’.

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1917. Egon Schiele - Summer Landscape at KrumauEgon Schiele, Summer Landscape, Krumau, 1917

1914. Egon Schiele, Houses with Laundry, SeeburgEgon Schiele, Houses with Laundry, Seeburg, 1914

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We could say that Schiele liked small towns because they were stark contrasts to his everyday life in Vienna – a city he experienced as ‘dark and full of shadows’.

He said: “I want to be alone. I want to go to the Bohemian Forest. May, June, July, August, September, October. I must see new things and investigate them. I want to taste dark water and see crackling trees and wild winds. I want to gaze with astonishment at moldy garden fences, I want to experience them all, to hear young birch plantations and trembling leaves, to see light and sun, enjoy wet, green-blue valleys in the evening, sense goldfish glinting, see white clouds building up in the sky, to speak to flowers. I want to look intently at grasses and pink people, old venerable churches, to know what little cathedrals say, to run without stopping along curving meadowy slopes across vast plains, kiss the earth and smell soft warm marshland flowers. And then I shall shape things so beautifully: fields of colour…

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1917. Egon Schiele, House with Drying LaundryEgon Schiele, House with Drying Laundry, 1917

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Paintings such as ‘House with Shingles’ and ‘House with Drying Laundry’ best evoke Schiele’s love for simplicity and peacefulness of provincial life. In them, he portrayed pell-mell built houses with drab facades, small windows, some broken some not, old roof that’s probably leaking, old chimneys, and then the colourful clothes on the washing line. I just love seeing clothes on washing line! These scenes evoke so many questions: who lived in those houses, how did they live and where are they now? Again we see the typical Egon Schiele colour palette; earthy colours of wood, sand and mud, grays and dark greens. Schiele’s houses are heavy and brown, like they grew from the earth itself, or like they descend into it.

This poem by Russian poet Alexander Blok reminds me of Schiele’s apocalyptic vision of cities:

The night. The street. Street-lamp. Drugstore.

A meaningless dull light about.

You may live twenty-five years more;

All will still be there. No way out.

 

You die. You start again and all

Will be repeated as before:

The cold rippling of a canal.

The night. The street. Street-lamp. Drugstore.

(Alexander Blok, written on 10 October 1912, translated by Vladimir Markov and Merrill Sparks*)

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1910. Egon Schiele - Houses on the Moldau, KrumauEgon Schiele, Houses on the Moldau, Krumau, 1910

Egon Schiele was born on 12th June 1890, which means I recently celebrated his birthday by fully engulfing myself into his art. Rereading about artists is the best thing ever because there’s always a new aspect of their art that I love. Schiele first lured me with his nudes, then I was crazy about his sunflowers, and now, well, you see that I’m enchanted with his Krumau scenes.

Egon Schiele – Melancholic Sunflowers

19 Mar

Egon Schiele was just one of many painters who gave identity to sunflowers; he painted them laden with a heavy burden of melancholy and alienation. Gazing at Schiele’s sunflowers, for me, raises an awareness of the haunting fragility of life. I hope you’re intrigued by the oxymoron in the title.

1911. Sunflowers, by Egon SchieleEgon Schiele, Sunflowers, 1911

Artist most widely associated with the sunflower motif is Vincent van Gogh, who painted the flowers using quick, ecstatic brushstrokes, in thick coat of intense, almost fire-like, burning yellow-orange colour, their petals almost dissolving on canvas, and saw them as symbols of blinding sun which, in the end, causes madness, or even death. While his vision of sunflowers may have something to do with his over indulgence in absinthe and the fervent sun of Arles, Egon Schiele’s sunflowers are pure sceneries of the soul.

Schiele’s sunflower scenes are gentle portraits of human alienation. He was twenty-one years old when he painted this painting, titled simply ‘Sunflowers’ (1911), but he already showed a profound interest and understanding of the world and society around him. At the age of fifteen Schiele lost his father to syphilis, and he quickly took off the rose-tinted glasses of childhood and became an adult, or at least he tried. My point is that his work is very mature and thoughtful. His self-portraits from the same year show his pondering on the question of identity, and his place in the society. In the same way, these sunflowers here represent the state of his soul, not the scenery he saw before him.

1911. Sunflowers - Egon Schiele Egon Schiele, Sunflowers, 1911

In 1913, Schiele wrote to an art collector Franz Hauer: ‘I also do studies, but I find, and know, that copying from nature is meaningless to me, because I paint better pictures from memory, as a vision of the landscape – now, I mainly observe the physical movements of mountains, water, tress and flowers. Everywhere one is reminded of similar movements made by human bodies, similar stirrings of pleasure and pain in plants. Painting is not enough for me; I am aware that one can use colours to establish qualities. – When one sees a tree autumnal in summer, it is an intense experience that involves one’s whole heart and being; and I should like to paint that melancholy.*

The melancholy that Schiele so eloquently described in the letter (he was a poet as well), is exactly the feeling which overwhelms me when I look at this painting. In stingy colours, using light brushstrokes Schiele created a true psychological study. His sunflowers appear tired and weary at first sight, and believe me, the second sight only intensifies the first one. Murky yellows, muddy browns, shades of green – neither of which is fresh or relaxing, all indicate a certain fatigue of the soul, decay of traditional values. Notice the sparse petals: some are missing while others are wildly protruding. Their stems are weak, dry, directionless, about to break – ‘heads’ of sunflowers resemble a tired head of a disappointed, forlorn man carried on fragile shoulders. The scene inevitably reminds me of these verses ‘Broken thoughts run through your empty mind‘ and ‘Endless hours in bed, no peace, in this mind/ No one knows the hell where innocence dies‘, again by Manic Street Preachers (Sleepflower). I may be aggravating with these verses, but I think similar themes often occur in many artworks, regardless of the time-period and style, don’t you?

1908. Sunflower - Egon SchieleEgon Schiele, Sunflower, 1908

A poem that would go well with Schiele’s vision of sunflowers:

Georg Trakl: The Sunflowers

You golden sunflowers,
Feelingly bowed to die,
You humble sisters
In such silence
Ends Helian’s year
Of mountainous cool.
And the kisses
Make pale his drunken brow
Amidst those golden
Flowers of melancholy
The spirit is ruled
By silent darkness.

1906. Gustav Klimt - The Sunflower, 1906, Oil on Canvas. 110 x 110 cmGustav Klimt, The Sunflower, 1906, Oil on Canvas. 110 x 110 cm

Unlike Schiele’s isolated sunflowers, imbued with sadness, Klimt’s sunflowers have a mystical aura about them. He painted these sunny flowers incorporated in garden scenes. Whereas Schiele isolated his sunflowers, exposed their anguished heads and tired stems, Klimt’s fear of ‘horror vacui’, ‘fear of empty space’, drove his to fill the entire surface of his garden scenes with flowers, whether in form of tiny red dots and green dashes, or in a form of true flowers such as sunflowers. Klimt painted them with their heads looking in different directions, their green leafs dancing in the wind like tulle skirts. Jewish Hungarian journalist and author, Lajos Hevesi (1843-1910), noticed the contrast between bright yellow petals and ‘dark and mysterious’ inner space. Their appearance resembles the solar eclipse. Sunflowers did have a cosmic meaning to Klimt after all.

1913. Farm Garden with Sunflowers, 1913 by Gustav KlimtGustav Klimt, Farm Garden with Sunflowers, 1913

Egon Schiele’s Nudes and Manic Street Preachers

9 Mar

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.

NPG x87840; Manic Street Preachers (Richey James Edwards; Nicky Wire (Nick Jones)) by Kevin CumminsThe May 1991 NME cover of Nicky and Richey, photographed by Kevin Cummins

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.

1917. Egon Schiele - UmarmungEgon Schiele, Pair Embracing, 1917

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)

1917. Kneeling Girl, Resting on Both Elbows by Egon SchieleEgon Schiele, Kneeling Girl, Resting on Both Elbows, 1917

1910. Female Nude (Weiblicher Akt) by Egon SchieleEgon Schiele, Female Nude (Weiblicher Akt), 1910

1910. Squatting Female - Egon SchieleEgon Schiele, Squatting Female, 1910

1917. Woman - Egon SchieleEgon Schiele, Woman, 1917