In this Winter, the lovers of Austrian modernist most comfortable in Germany: There is a gold background shiny Klimt exhibition at the Moritzburg Halle, and a Schiele in the Museum Georg Schäfer in Schweinfurt, Franconia, Germany, Egon, the Dissector of the art.
editor in the features section.
F. A. Z.
Although the home at Main is not a single Schiele and all the paintings and drawings by the artist from the collection of the Museum Leopold in Vienna, you should not refuse the visit with the reference to the much more rewarding, Austria.
Just the room with the Self-portraits Schiele – Central for an exhibition with the title “freedom of the I” – are numerous other self-images by artists from the Museum’s holdings on the page: an angry Wilhelm Busch in his Dutch-primed “self-portrait as a beggar”, Slevogt, apparently, about the small alms on his palm complains that Max as a “picture hunter” with the shotgun and the Malberserker Lovis Corinth, with a naked torso and a red head scarf, as well as in the other panels.
Between Schiele and the world
All remarkably similar to the productions of Schiele’s made in a tradition chain as provocative as revealing artist interviews. In more than 170 Self-portraits has dissected Schiele life picturesque, in many of which he engages with the V-shaped splayed Index and middle fingers, a gesture typical of the Renaissance, have used Michelangelo and Leonardo alike and is today associated more with Spock from the “star trek”movies.
the Apprehension of the Renaissance gesture in the Science-Fiction Film is not completely anachronistic, and shows the effect of the Schiele scored thus: In his “self-portrait with lowered head” of 1912, he looks at the viewer with a tilted head and a confused variety of hair aggressively and puts his Hand on the exact gesture in front of the body, in a white painter’s coat.
the jacket works By but sleeveless, calls for the Association to force the vest; the gesture is a gesture of alienation from society, as if the artist as a misunderstood nerd the space between himself and the Rest of the world.
A disturbing I
The most elementary but this is up to the resolution, all fixed knowledge-driven self-interrogation in the image “Self-seer II (death and man)” of 1911. On this man, it may well be an alter Ego Schiele’s recognize comes verquält in the center, an oversized pale shadows with empty eye sockets from the rear of the body.