Egon Schiele at Neue Gallery

Primarily works on paper, the rawness of Egon Schiele's portraiture is a colossal gift at the Neue Gallery. Schiele is admired for his fluid draftsmanship along with his willingness to push beyond his bourgeois training. Ken Johnson reviewed the show for the NY Times and writes

It’s often said that this type rebels without cause, but, in Schiele’s case, that’s incorrect. You need only glance back at the portraits of 1907 to clarify what he was against and what he was for. In those vacuous academic exercises, he trained to express ideals of bourgeois propriety. He hated that program. What he sought instead wasn’t amoral or immoral but something more generously moral, a view of people that accepts them (himself included) as imperfect and animated by all sorts of desires, including those conventionally deemed perverse. (Not just incidentally, Sigmund Freud was working toward similar ends in Vienna around the same time.)
Self-Portrait with Peacock Waistcoat, Standing
1911
Egon Schiele





Self-portrait with arm twisted above head
1910
Egon Schiele

Egon Schiele's portrait of the painter Max Oppenheimer (1910)



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