Egon Schiele

Anonymous, Portrait of Egon Schiele, 1915

Egon Schiele (1890-1918) was born in Tulln, Austria. His father, Adolph Schiele, worked for the Austrian State Railways as a station master, his mother, Marie Soukup(ová), was from Krumau, (today Český Krumlov) in Bohemia. Since there was no suitable school at Tulln, Schiele was sent away in 1901, first to Krems, then to Klosterneuburg near Vienna. In 1904 the whole family followed him there because of his father's deteriorating health. Adolf Schiele's condition soon degenerated into madness, and in the following year he died, aged fifty-four from syphillis. Egon became a ward of his maternal uncle.

 Egon Schiele, Dead Mother, 1910

Schiele later felt that he had had a special relationship with his father. In 1913 he wrote to his brother-in-law: "I don't know whether there is anyone else at all who remembers my noble father with such sadness. I don't know who is able to understand why I visit those places where my father used to be and where I can feel the pain." On the other hand, he disliked his mother because he felt she did not mourn for his father enough, or give her son the attention he deserved: "My mother is a very strange woman. She doesn't understand me in the least and doesn't love me much either. If she had either love or understanding she would be prepared to make sacrifices."

 Egon Schiele, Gerti Schiele in Plaid Dress, 1909

Schiele's emotions were directed into an intense relationship with his younger sister Gerti, (above), which was not without incestuous implications. In 1906, when he was sixteen and she was twelve, he took her by train all the way to Trieste. The same year, Schiele applied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Perhaps those in charge scented a troublesome pupil - in any case they sent him on to the more traditional Academy of Fine Arts. Schiele duly passed the entrance examination, and was admitted as one of the youngest students ever. The next year he visited his idol, Klimt, to show him some of his drawings. Did they show talent? "Yes", Klimt replied, "much too much!"

 Egon Schiele, Gustav Klimt in blue smock, 1913

Klimt took a particular interest in Schiele, buying his drawings, 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 Vienna Secession. 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 at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh.

 Anonymous, Egon Schiele, 1914

Schiele found a flat and a studio and set up on his own. At this time he showed a strong interest in children, especially young girls, who were often the subjects of his drawings. Albert Paris Gütersloh, a young artist who was Schiele's friend, remembered that the establishment was overrun with them: "They slept, lazily hung around, combed their hair, pulled their dresses up or down, did up or undid their shoes, like animals in a cage which suits them, they were left to their own." Schiele made many drawings from these young models, some of which were extremely erotic. 

 Egon Schiele, Girl Putting on Shoe, 1910 

Schiele was also fascinated by his own appearance, and produced self-portraits in large numbers. He impressed not only himself, but others with whom he came into contact. The writer Arthur Rössler (below), one of Schiele's staunchest promoters, wrote about him: "Even in the presence of well known men of imposing appearance, Schiele's unusual looks stood out. He had a tall, slim, supple figure with narrow shoulders, long arms and long-fingered bony hands. His face was sunburned, beardless, and surrounded by long, dark, unruly hair. His broad, angular forehead was furrowed by horizontal lines. The features of his face were usually fixed in an earnest, almost sad expression, as though caused by pains which made him weep inwardly."

 Egon Schiele, Portrait of Arthur Rössler, 1910

In 1911, Schiele met the seventeen-year-old Wally Neuzil, who lived with him in Vienna and served as model for some of his most striking paintings. Very little is known of her, except that she had previously modelled for Gustav Klimt. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to his mother's birth town, Český Krumlov in southern Bohemia. Despite Schiele's family connections, he and his lover were driven out of town by the residents, who strongly disapproved of their lifestyle. Today, Český Krumlov is the site of a museum dedicated to Schiele. 

Egon Schiele, Krumau an der Moldau [Český Krumlov], 1913

Schiele and Wally Neuzil then  moved to Neulengbach, near Vienna. As it was in the capital, Schiele's studio became a gathering place for Neulengbach's delinquent children. Schiele's way of life again 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. 

 Egon Schiele, Cardinal and Nun (Tenderness), 1912

When his case was brought to court, the charges of seduction were dropped, but Schiele 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 Schiele was sentenced to three days' imprisonment in St. Pölten. While in prison, Schiele created a series of 12 paintings - among them Death and Girl (below) - and remarked: "To restrain an artist is a crime, it means to kill life! I will carry on for my art and for my lover."

Egon Schiele, Death and Girl [Schiele and Wally Neuziel], 1912

The Neulengbach affair had no effect on Schiele's career: In 1912, he was invited to show at the Sonderbund exhibition in Cologne, and he was also taken on by the famous art dealer Hans Goltz of Munich. The year 1915 marked a turning-point in Schiele's life. He met two girls, Edith and Adele Harms, who lived opposite his studio in Vienna. Schiele was attracted to both of them, but eventually fixed his sights on Edith. In February 1915, Schiele wrote a note to his friend Arthur Rössler stating: "I intend to get married advantageously, perhaps not to Wally." 

 Egon Schiele, Portrait of Wally, 1912

By April 1915 Schiele was engaged to Edith, and Wally Neuzil was rather cold-bloodedly dismissed. Schiele's last meeting with Wally took place at the Café Eichberger, where he played billiards nearly every day. He handed her a letter in which he proposed that, despite their parting, they take a holiday together every summer - without Edith. Wally refused. During the First World War, she joined the Red Cross as a nurse and died of scarlet fever in a military hospital near Split in Dalmatia just before Christmas 1917. Schiele and Edith were married, despite her family's opposition, in June 1915.

 Egon Schiele, Portrait of Edith Schiele, 1918

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. He was initially stationed in Prague. In the army, Schiele never saw any fighting at the front, and was able to continue painting and sketching while guarding Russian prisoners of war, and doing light guard duties. By 1917, he was back in Vienna, able to focus on his artistic career. His output was prolific. He was now thought of as the leading Austrian artist of the younger generation.

 Egon Schiele, Poster for the Vienna Secession's 49th exhibition, 1918

Schiele was asked to take part in a government-sponsored exhibition in Stockholm and Copenhagen intended to improve Austria's image with the neutral Scandinavian powers. He was also 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 designed a poster for the exhibition (above), 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 works increased considerably. During the same year, he also had successful shows in Zürich, Prague, and Dresden.

 Martha Fein, Egon Schiele's  Death Bed, 1918

Schiele and Edith moved to a new and grander house and studio. Their pleasure in it was brief. In the autumn of 1918, the Spanish flu epidemic that claimed more than 20 million 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.You can see a timeline of Schiele's work in my Flickr set.

Gustav Klimt's Obsessions

 Egon Schiele, Gustav Klimt in blue smock, 1913

In June 1902, Auguste Rodin was passing through Vienna, en route from Prague. While in town, he accepted an invitation to visit the current exhibition of the Vienna Secession movement, and to meet the artist whose monumental work, the Beethoven Frieze, was at the heart of the display: Gustav Klimt. The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic Berta Zuckerkandl, they sat down beside two remarkably beautiful young women at whom Rodin gazed enchantedly.

 Gustav Klimt, Two Girlfriends, 1916

"That afternoon, slim and lovely vamps came buzzing around Klimt and Rodin, those two fiery lovers," Zuckerkandl recalled. "Rodin leaned over and to Klimt and said, 'I have never before experienced such an atmosphere - your tragic and magnificent Beethoven fresco, your unforgettable, temple-like exhibition, and now this garden, these women, this music. What is the reason for it all?' And Klimt slowly nodded his beautiful head, and answered only one word: 'Austria.'" 

Gustav Klimt - Beethove Frieze, The Hostile Powers, 1902

In Klimt's Beethoven Frieze, it seems, that hostile powers - naked temptresses and a huge snarling ape - above all symbolised the disease syphilis of which he was terrified - and understandably, since he had contracted it at an early age. Thus, his frieze brought together the themes of music, death, love and sex - so fundamentally fascinating to the Vienna of Sigmund Freud and Arthur Schnitzler. That was perhaps what Klimt meant by his laconic answer to Rodin's question. 

Madame d'Ora, Portrait of Gustav Klimt, 1908

A young woman named Frederike Beer-Monti rang on Klimt's doorbell in 1915, hoping he would paint her portrait (she had already posed for his younger rival, Schiele). She found him both taciturn and formidable. Klimt took her hand, looked at it, turned it over and for a long time,  but said not a single word. Beer-Monti was finally allowed to enter. But, "it took a lot of talking to make him a little friendlier." Klimt eventually agreed to paint her. Though the result was a magnificent picture, Beer-Monti was ambivalent about the artist. "Klimt was exceptionally animal-like. His body exuded a peculiar odour. As a woman, one was really afraid of him." 

 Gustav Klimt, Friedericke Maria Beer-Monti, 1916.

Three models inhabited Klimt's studio, rather like his pet cats. When he was painting Frederike Beer-Monti, he took a break every hour and went into an adjacent room to relax and chat for a while with the models who were always there. Alma Schindler reported that he "would take them to the theatre or races, always slipped them a banknote." Alma Schindler herself - later Alma Mahler, and subsequently the lover of Oskar Kokoschka was one of Klimt's failed conquests. He pursued her to Italy in 1899, where she was on holiday with her family. He kissed her in a Genoese hotel room, but she, though wildly in love, was firm ("not without a ring on my finger"). 

 Gustav Klimt, Lady with Hat and feather Boa, 1909

About the same time, Klimt fathered three sons by two other women, and began a long-lasting, though apparently open, relationship with a talented proprietor of a Viennese fashion salon, Emilie Flöge. The names of the models and other women in his life do not always survive, partly because Flöge burnt much of Klimt's correspondence after his death from a stroke in 1918. One who has been identified by chance recently was Hilde Roth, a beautiful Bohemian redhead from Budapest whose face can be seen in Lady with Hat and feather Boa (above).

 Gustav Klimt, The Bride, 1918

When Klimt died, an unfinished painting entitled The Bride was left in his studio. The right half was dominated by a semi-naked female figure. The knees were bent and the legs splayed out to expose a carefully detailed pubic area on which the artist had leisurely begun to paint an overlay 'dress' of suggestive and symbolic ornamental shapes. Thus Klimt's own death revealed the sexual obsession that lay beneath his shimmering surfaces.

Ubaldo Oppi

He must have sensed the knives of pain in his own body to operate with them successfully. (Ernst Jünger, The Adventurous Heart, 1929)

 Ubaldo Oppi, La giovane sposa, 1922

Ubaldo Oppi (1889-1942) was born in Bologna as the son of a merchant and spent his youth in Vicenza. He was largely self-taught as a painter staying in Germany and Austria between 1907 and 1909. In Vienna, he attended the lessons of Gustav Klimt and, at the same time, studied anatomy. After spending a year in Italy in 1911 he moved to Paris, where he sought to combine his experience of Secessionism with expressive elements and vibrant colors. Later, Oppi studied the Italian painting of the Tre-and Quattrocento as well as Picasso's blue period. Talking about Picasso: His lover at that time, Fernande Olivier, left Picasso during a stormy love affair with Oppi.

Ubaldo Oppi, Donna alla finestra, 1921

Towards the end of the World War I Oppi spent some time in Austrian captivity where he produced a series of drawings anticipating many design elements of the New Objectivity. After another stay in Paris (1919-1922), he settled in Milan where, in 1922, he founded together with Achille Funi, Mario Sironi and others the artist group Novecento Italiano. Although he immediately distanced himself ideologically, he used the group's organization until the late twenties to show his works not only in Italy but also abroad to a larger audience.

 

Ubaldo Oppi, Artist and Model (Self-Portrait), 1920

Portraits played an important role in Oppi's art. A hard linearity and almost frozen colors predominate. The cool and distanced portrait artist and his wife, both of 1920 gives the impression of a lack of communication. While Oppi is shown as a painter, his wife holds the score of a Mozart sonata in her hand, allegorically showing the union of the two arts.

 Ubaldo Oppi, The Three Surgeons, 1926

One of Oppi's most significant paintings, The Three Surgeons of 1926, displays a group of doctors with cold technical precision and accuracy. It might well be that this painting was inspired by Max Oppenheimer's Operation (produced during Oppi's stay in Vienna) and that it in turn influenced Christian Schad's famous 1929 operation painting (Schad stayed in Italy between 1920 and 1927 where he developped his style studying the Novecento Italiano artists).

Christian Schad, Operation, 1929

In Oppi's later years religious motives became increasingly important. 1928 and 1930-32 he produced large-scale wall paintings with Christian themes. Ubaldo Oppi died on 25.10.1942 in Vicenza.

 Ubaldo Oppi, The Surgeon, 1913

You can see more works of Ubaldo Oppi here in my Flickr set.