THE VIENNA SECESSION: GUSTAV KLIMT & EGON SCHIELE
THE VIENNA SECESSION: GUSTAV KLIMT & EGON SCHIELE
THE VIENNA SECESSION: GUSTAV KLIMT & EGON SCHIELE
BY ANGELA CORTEZ
San Francisco // New York, NY Š 2016 by Phaidon Press Limited All rights reserved. No part of this publication may ever be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except by reviewers, who may quote brief passages in a review. Scanning, uploading, and electronic distribution of this book or the facilitation of the same without the permission of the publisher is prohibited. Please purchase only authorized editions, and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated and considered. Any member of educational institutions wishing to photocopy part of all the work for classroom use or anthology should send inquires to the permission c/o Phaidon Press Limited, New York, NY, 10012 or permission to customer.care@phaidon.com ISBN 978-1-62465-201-4
DEDICATION I dedicate this book to my friends and family. Also to those who enjoy a art and love these particular artists in general. Without the magic and beautiful artwork of these two artists I wouldn’t have my book or the subject matter. I also want to thank other authors who’ve dedicated their time to research and these two artists and for showcasing their artwork to never be forgotten.
TABLE OF CONTENTS INTRODUCTION
PAGE
CHAPTER ONE: VIENNA SECESSION CHAPTER TWO: GUSTAV KLIMT
PAGE
CHAPTER THREE: EGON SCHIELE
PAGE 29
CHAPTER FOUR: LEGACY
PAGE 45 PAGE 64 PAGE 66
BIBLIOGRAPHY INDEX
1
3 PAGE 13
Introduction
The Vienna Secession
Gustav Klimt & Egon Schiele
INTRODUCTION With a nearly 30 year age difference, Schiele and Klimt had a mentor-student relationship that lasted throughout their artistic careers. From copycat styling to love triangle rumors, this twisted story is told in their paintings.With a relationship based on mutual respect, Klimt and Schiele continued to support and guide each other through the art world. There was an obvious amount of humor between the two; only a prized pupil could have gotten away with such sheer parodies of his mentor. I’ve always been interested in art and certain movements and eras of art. One in particular is The Vienna Secession. I’ve always been drawn to the work of The Vienna Secession, especially the artist Gustav Klimt. His most famous, painting The Kiss, never fails to amaze me and all its glory. I’ve always been attracted to the golden tones of his paintings and of the whole secession itself. Though it I’ve generally always have been a fan of Klimt’s work, but it wasn’t really until I delved into his work and I found another artist of similar style to his that peaked my interest. This artist was no other than the late apprentice of Klimt’s, Egon Schiele. After discovering Schiele’s work, I had an even deeper and profound appreciation for their art and its’ era. The Vienna Secession definitely became one of my favorite era in art and I was somewhat obsessed. It was great to see two different artist interpret their art within this vast era of art. Although they are both differ in styles and concepts of their respective art form, they do have very striking similarities and it is sometimes hard to differentiate which artwork belongs to which artist. It came to no surprise after some research that Schiele was actually the apprentice of Klimt’s, it made sense and the notion came together as a whole. Therefore when it came time to do a topic on a book of choice in the arts, I chose to combine these two artists respectively. In this book you will find the historic background of each artist, the era of art they were involved in, and an in depth look into the master and apprentice relationship they forged. Not only does their artwork captivate many people, their history is just as interesting as their paintings alike.
Introduction
Page 1
CHAPTER ONE THE VIENNA SECESSION
Chapter One
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The Vienna Secession
The Vienna Secession
GROUP PHOTO, 1902 Members of the Vienna Secession in a group photograph at the 14th exhibition.
Chapter One
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Gustav Klimt & Egon Schiele
The Vienna Secession
The Vienna Secession
Gustav Klimt & Egon Schiele
THE VIENNA SECESSION
The Vienna Secession ( In German: Wiener Secession; also known as the Union of Austrian Artists, or Vereinigung Bildender Künstler Österreichs) was formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects. In modern art, the phrase “Vienna Secession” (Wiener Sezession) refers to the actions of progressive modern artists in Vienna, who broke away from the conservative Academy of Arts in the city, whose annual Salon and art schools remained wedded to an old-fashioned style of academic art. The Secessionist trend appeared in several cities across Europe, beginning in Munich in 1892, where the newly formed Secession, led by Franz von Stuck, soon outshone the official arts organization. The Viennese Secession, formed in 1897 under Gustav Klimt (1862-1918), was the most influential breakaway and published its own periodical Ver Sacrum (Sacred Spring) to promote its ideas.
It also built a spectacular new headquarters building (Haus der Wiener Sezession), designed by architect Joseph Maria Olbrich (1867-1908). There were no unifying characteristics of Viennese Secessionist painting or sculpture, or even architecture: instead, its members were committed to the ideal of modernising Austrian art by acquainting it with the latest modern art movements, including the latest trends in Post-Impressionism and Expressionism, as well as the fashionable styles of decorative art, like Art Nouveau. However it was Klimt’s paintings that caused the greatest controversy. His pictures Philosophy and Medicine (both 1900), commissioned for the University were deemed to be too explicitly physical, as was his Beethoven Frieze (1902) and The Kiss (1907-8), whose shimmering canvas benefited greatly from Klimt’s extensive knowledge of applied art.
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The Vienna Secession
The Vienna Secession
DEVELOPMENT The Secession artists objected to the prevailing of the conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism. The Berlin and Munich Secession movements preceded the Vienna Secession, which held its first exhibition in 1898. The group earned considerable for its exhibition policy, which made the French Impressionists somewhat very familiar to the Viennese public. The 14th Secession exhibition, designed by Josef Hoffmann and dedicated to Ludwig van Beethoven who was especially famous above all the rest. A statue of Beethoven by Max Klinger stood at the center, with Klimt’s Beethoven frieze mounted around it. The Klimt frieze has been restored and can be seen in the gallery today. In 1903, Hoffmann and Moser founded the Wiener Werkstätte as a fine-arts society with the goal of reforming the applied arts (arts and crafts). On 14 June 1905 Gustav Klimt and other artists seceded from the Vienna Secession over the years due to differences of opinion over artistic concepts.
Chapter One
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The Secession, or breaking away, of young artists from official academies was a feature of fin de siecle art, especially in German-speaking countries. At Munich in 1892, Berlin in 1898, and later at Dresden, Dusseldorf, Leipzig and also Weimar, young painters, sculptors and architects protested against the conservative stranglehold that their elders maintained on exhibitions and arts policies by setting up independent societies. The Vienna of the period was a centre of extraordinary and radical intellectual vitality: psychoanalyst Sigmund Freud, composer Arnold Schonberg, novelist Robert Musil and architect Adolf Loos were all based in Vienna at this time. The artists based in the city proved no less radical than their contemporaries in other fields. The Vienna Secession was formed on 25 May 1897 by a group of nineteen artists and architects who decided to break away from the official Viennese Artists’ Association. Painter Gustav Klimt along with architects and designers Josef Hoffmann (1870-1956), Joseph Maria Olbrich and Koloman Moser (18681918) remain the most famous of the founder-members. Klimt became the group’s first President.
Gustav Klimt & Egon Schiele
The Vienna Secession
The Vienna Secession
Gustav Klimt & Egon Schiele
PART OF HEADQUARTERS The Palais Stoclet dining room.
Chapter One
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The Vienna Secession
The Vienna Secession
Gustav Klimt & Egon Schiele
JOSEF MARIA OLBRICH, 1898 Poster for the second Secession exhibition
Chapter One
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The Vienna Secession
The Vienna Secession
Gustav Klimt & Egon Schiele
THE END OF AN ERA At first the Secessionists were closely affiliated with Art Nouveau and the Jugendstil; indeed, in Austria, Art Nouveau was called Sezessionstil. As a result, important external influences on the evolution of Secessionist art included Gauguin’s Synthetism and Emile Bernard’s Cloisonnism, the poster art of Paris-based colour-lithographers such as Alphonse Mucha, and the curvilinear drawing of the English illustrator Aubrey Beardsley. An early boost to Secessionist architecture occurred in 1899 when Vienna’s leading architect, Otto Wagner (1841-1918), already established as an advocate of the Art Nouveau style with his Karlsplatz Station (1894) and Majolica House (1898), defected from the establishment to join the new group.
From 1900, the date of the Eighth Exhibition of the Secession, at which British applied art was shown, the work of Charles Rennie Mackintosh was the dominant influence on Sezessionstil. Mackintosh’s rectilinear designs and muted colours were preferred by the Austrians to the more rococo style of Continental Art Nouveau. The Secession also published a periodical, Ver Sacrum (Latin: Sacred Spring), from 1898-1903, to publicize their designs and broadcast their call for unity in the arts, including folk art. In 1905 there was a split in the Secession itself. The Naturalists of the group wanted to focus on fine art. The more radical artists, including Klimt, Hoffmann and Wagner, wanted to promote the applied arts and seek closer ties with industry. In the end they left to form a new group, the Klimtgruppe.
Chapter One
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The Vienna Secession
The Vienna Secession
KOLO MOSER, 1899 Poster for the fifth Secession exhibition
Chapter Two
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Gustav Klimt & Egon Schiele
The Vienna Secession
The Vienna Secession
Gustav Klimt & Egon Schiele
ALFRED ROLLER, 1898 Cover for the first number of Ver Sacrum
Chapter Two
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CHAPTER TWO GUSTAV KLIMT
Chapter Two
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Gustav Klimt
The Vienna Secession
GUSTAV KLIMT Gustav Klimt was born in Baumgarten, near Vienna, the second of seven children — three boys and four girls. All three sons displayed artistic talent early on. His father, Ernst Klimt, formerly from Bohemia, was a gold engraver. Ernst married Anna Klimt whose unrealized ambition was to be a musical performer. Klimt lived in poverty for most of his childhood, as work was scarce and the economy difficult for immigrants. In 1876, Klimt was enrolled in the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied until 1883, and received training as an architectural painter. He revered the foremost history painter of the time, Hans Makart. Unlike many young artists, Klimt accepted the principles of conservative Academic training. In 1877 his brother Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend Franz Matsch began working together; by 1880 they had received numerous commissions as a team they called the “Company of Artists”. Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstrabe which including a successful series of “Allegories and Emblems”. Klimt became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 and of the group’s periodical Ver Sacrum (Sacred Spring). He remained with the Secession until 1908. The group’s goals were to provide exhibitions for unconventional young artists, to bring the best foreign artists works to Vienna, and to publish its own magazine to showcase members’ work.The group declared no manifesto and did not set out to encourage any particular style — Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group’s symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts — and Klimt painted his radical version in 1898. Beginning in the late 1890s Klimt took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there.
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Gustav Klimt & Egon Schiele
Gustav Klimt
The Vienna Secession
Gustav Klimt & Egon Schiele
BIOGRAPHY Klimt’s ‘Golden Phase’ was marked by positive critical reaction and success. Many of his paintings from this period utilized gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907 - 1908). Klimt traveled little but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was the grandest at the time of monuments of the Art Nouveau age. Klimt’s contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, “probably the ultimate stage of my development of ornament.” Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing she designed. As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art and family and little else except the Secessionist Movement, and he avoided café society and other artists socially. Klimt’s fame usually brought patrons to his door, and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects. Though very active sexually, he kept his affairs discreet and he avoided personal scandal. Like Rodin, Klimt also utilized mythology and allegory to thinly disguise his highly erotic nature, and his drawings often reveal purely sexual interest in women as objects. His models were routinely available to him to pose in any erotic manner that pleased him. Many of the models were prostitutes as well. Klimt wrote little about his vision or his methods. He wrote mostly postcards to Flöge and kept no diary. In a rare writing called “Commentary on a non-existent self-portrait”, he states “I have never painted a self-portrait. I am less interested in myself as a subject for a painting than I am in other people, above all women...There is nothing special about me. I am a painter who paints day after day from morning to night...Who ever wants to know something about me... ought to look carefully at my pictures.”
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Gustav Klimt
The Vienna Secession
THE LATTER LIFE In 1911 his painting Death and Life received first prize in the world exhibitions in Rome. In 1915 his mother Anna died. Klimt died three years later in Vienna on February 6, 1918, having suffered a stroke and pneumonia. He was interred at the Hietzing Cemetery in Vienna. Numerous paintings were left unfinished. Klimt’s paintings have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt’s Landhaus am Attersee sold for $29,128,000, but that was soon eclipsed by prices paid for other Klimts. In 2006 the artist’s Apple Tree I (ca. 1912) sold for $33 million and Birch Forest (1903) sold for $40.3 million. Klimt’s work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907–1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt’s distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht Dürer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the “freedom” of art from traditional culture.
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Gustav Klimt & Egon Schiele
THE KISS, 1907 Oil on canvas 70 7/8 x 70 7/8 (180 x 180 cm) Ă–sterreichische Galerie, Vienna
Gustav Klimt
The Vienna Secession
Gustav Klimt & Egon Schiele
TIMELINE
1900: Participates in the Exposition Universelle. Receives a prize for Philosophy.
1876-1883: Studies at the Kunstgewerbeschule in Vienna.
1862: Born on July 14, Son of a gold engraver, in Baumgarten, Austria.
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1897: Co-Founder and first president of the Vienna Secession.
Gustav Klimt
The Vienna Secession
1905: Leaves the Vienna Secession with fourteen other artists.
1903: The Wiener Werkstätte is founded, big influence and a major exhibition in the Vienna Secession.
Gustav Klimt & Egon Schiele
1910: Turns away from his signature and infamous “Golden” style.
1907: Meets and encourages the young artist Egon Schiele.
1918: Suffers a stroke, he never recovers, he dies on February 6 in Vienna.
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PORTRAIT OF ADÈLE BLOCH-BAUER II, 1912 Oil on canvas 74 4/5 x 47 1/4 (190 x 120 cm) Österreichische Galerie, Vienna
PORTRAIT OF BARONESS ELISABETH BACHOFEN-ECHT, 1914 Oil on canvas 70 7/8 x 50 3/8 (180 x 128 cm) Galerie, Welz, Salzburg
PORTRAIT OF FRITZA RIDEDLER, 1906 Oil on canvas 60 1/4 x 52 3/8 (153 x 133 cm) Österreichische Galerie, Vienna
PORTRAIT OF ADÈLE BLOCHBAUER, 1912 Oil on canvas 54 1/83 x 54 1/3 (138 x 138 cm) Österreichische Galerie, Vienna
DEATH AND LIFE, 1911 Oil on canvas 70 x 78 (178 x 198 cm) Collection Dr. Rudolf Leopold, Vienna
THE VIRGIN, 1913 Oil on canvas 74 7/8 x 78 3/4 (190 x 200 cm) National Gallery, Prague
CHAPTER THREE EGON SCHIELE
Chapter Three
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Vienna Secession Pioneers
Introduction
Chapter Three
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Gustav Klimt & Egon Schiele
Introduction
Vienna Secession Pioneers
Gustav Klimt & Egon Schiele
EGON SCHIELE When Egon Schiele was 15 years old, his father died from syphilis, and he then became a ward of his maternal uncle, Leopold Czihaczec, who became distressed by Schiele’s lack of interest in academic studies, yet recognized his passion and talent for art. In 1906 Schiele applied at Kunstgewerbeschule (the School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden Künste in Vienna in 1906. There, he studied painting and drawing, but was frustrated by the school’s conservatism. Records show that Adolf Hitler was rejected by the Akademie in 1907; this has led to a misconception that Schiele and Hitler knew each other in Vienna. In 1907, Schiele sought out Gustav Klimt. Klimt generously mentored younger artists, and he took a particular interest in the gifted young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. Also at that time he also introduced Schiele to the Wiener Werkstätte, the arts and crafts workshop connected with the Secession. In 1908 Schiele had his first exhibition, in Klosterneuburg.
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 some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academy’s conventions, Schiele began to explore not only the human form, but also human sexuality. At the time, many found the explicitness of his works disturbing. Egon Scheile is known for being or his art being very grotesque, erotic, pornographic, and disturbing, focusing on sex, death, and discovery. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion. He also painted tributes to Van Gogh’s Sunflowers as well as landscapes and still lifes.
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Egon Schiele
The Vienna Secession
BIOGRAPHY In 1911, Schiele met the seventeen-year-old Valerie (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 and might have been one of his mistresses. Schiele and Wally wanted to escape what they perceived as the claustrophobic Viennese milieu, and went to the small town of Český Krumlov (Krumau) in southern Bohemia. Krumau was the birthplace of Schiele’s mother; today it is the site of a museum dedicated to Schiele. Despite Schiele’s family connections in Krumau, he and his lover were driven out of the town by the residents, who strongly disapproved of their lifestyle, including his alleged employment of the town’s teenage girls as models. Together they moved to Neulengbach, 35 km west of Vienna, seeking inspirational surroundings and an inexpensive studio in which to work. As it was in the capital, Schiele’s studio became a gathering place for Neulengbach’s delinquent children.
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Schiele’s way of life 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 and was to be jailed. When they came to his studio to place him under arrest, the police seized more than a hundred drawings which they considered pornographic. Schiele was imprisoned while awaiting his trial. When his case was brought before a judge, the charges of seduction and abduction were dropped, but the artist 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 he was sentenced to only three days’ imprisonment. While in prison, Schiele then created a series of 12 paintings depicting the difficulties & discomfort of being locked in a jailcell, it later becomes famous.
Gustav Klimt & Egon Schiele
Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
Chapter Three
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Egon Schiele
The Vienna Secession
FIGHTER, 1913 K채mpfer Gouache and pencil, 48.8 x 32.2 cm Private collection
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Gustav Klimt & Egon Schiele
Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
THE LATTER LIFE 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 was treated well by officers who respected his artistic talent. He 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, and his work reflected the maturity of an artist in full command of his talents. He was 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 also designed a poster for the exhibition, 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 drawings increased and he received many portrait commissions and what not.
During the same year, he also had successful shows in Zürich, Prague, and Dresden. Schiele participated in numerous group exhibitions, including those of the Neukunstgruppe in Prague in 1910 and Budapest in 1912; the Sonderbund, Cologne, in 1912; and several Secessionist shows in Munich, beginning in 1911. In 1913, the Galerie Hans Goltz, Munich, mounted Schiele’s first solo show. A solo exhibition of his work took place in Paris in 1914. In the autumn of 1918, the Spanish flu epidemic that claimed more than 20,000,000 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.
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Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
TIMELINE
1906: Accepted at the Academy of Fine Arts in Vienna.
1890: Born on June 12, Son of the railroad stationmaster in Danube, Austria.
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1908: Participates in his first public exhibition at Klosterneuburg.
1907: Meets Gustav Klimt, who strongly influences his work.
Egon Schiele
The Vienna Secession
1910: His own style emerges; signature style
1909: Leaves the Academy to form the Neukunstgruppe.
Gustav Klimt & Egon Schiele
1915: Gets married but inducted into the Austrian Army.
1912: Imprisoned on charges of alleged immorality,
1918: Dies of Spanish Flu in October 31, sometime after his wife, who died from the same illness.
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Egon Schiele
The Vienna Secession
THE BRIDGE, 1913 Oil Canvas 89.7 x 90 cm Private Collection
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Gustav Klimt & Egon Schiele
Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
KRUMAU ON THE MOLDAU, 1913 Oil Canvas 88.3 x 87.6 cm Collection Viktor Fogarassy, Graz
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Egon Schiele
The Vienna Secession
BABY, 1915 Pencil, black chalk, and watercolor 51.9 x 31.3 cm Collection Viktor Fogarassy, Graz
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Gustav Klimt & Egon Schiele
Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
TONI PESCHKA JR., 1918 Oil Canvas 99.4 x 70 cm Private Collection
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Egon Schiele
The Vienna Secession
RECLINING WOMAN WITH LEGS APART, 1914 Gouache and pencil 30.4 x 47.2 cm Vienna, Graphische Sammlung Albertina
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Gustav Klimt & Egon Schiele
Egon Schiele
The Vienna Secession
Gustav Klimt & Egon Schiele
SEATED WOMAN WITH LEFT LEG DRAWN UP, 1917 Gouache, pencil, and black chalk 46 x 30.5 cm Prague, N達rodni Gallery
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CHAPTER FOUR LEGACY
Chapter Four
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Legacy
The Vienna Secession
MASTER & APPRENTICE The Mentor and His Star Pupil-with a nearly 30 year age difference, Schiele and Klimt had a mentor-student relationship that lasted throughout their artistic careers. From copycat styling to love triangle rumors, this twisted story is told in their paintings. In 1907 a then-teenaged Schiele saw Klimt as an idol and sought him out. The two fostered an artistic friendship and elements of Klimt’s avant-garde style can be found in many of Schiele’s early works and drawings. Klimt’s influence was never far away. He introduced Schiele to many gallerists, fellow artists, and models, including the perhaps infamous Valerie (Wally) Neuzil. Neuzil had previously modeled for Klimt, and is rumored to have been his mistress. In 1911 she moved with Schiele to Krumau in the Czech Republic and thus began a four-year affair with him. But in 1916 she left Schiele and returned to her old lover, posing again for Klimt.
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Gustav Klimt & Egon Schiele
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
TRAGEDY, 1897 GUSTAV KLIMT Black chalk, pencil, and wash with white with gold highlights 16 1/2 x 12 1/2 (41.9 x 30.8 cm) Historisches Museum der Stadt Wien, Vienna
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BOATS IN THE HARBOR, 1908 EGON SCHIELE Oil on cardboard 29 x 21 cm Landesmueseum, Vienna
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
HISTORY OF THEIR RELATIONSHIP Klimt and Schiele portraits also reveal another shared subject: Viennese society woman Friederike Maria Beer-Monti. She rang Klimt’s doorbell in 1915 and asked if she could pose for his artworks. The process took six months and, in that time, she is rumored to have been one of his many flames. Just one year earlier, she had been the subject of a work by Klimt’s mentee.
As personal relationships grew more interconnected so did their artistic styles. The bright colors and elongated bodies in Klimt’s unfinished The Bride and the more jagged lines and gestural coloring in Schiele’s Portrait of Dr. Erwin von Graff would lead their contemporaries to a new — and more personal — way of thinking about color and form in art.
Both artists were notorious for their affairs with women and often shared the same muses. Klimt, who never married, is said to have fathered 17 children with his muses. Schiele often found himself in hot water with the authorities for his choice of studio visitors and/or muses, which consisted of children and adults, who posed nude.
With a relationship based on thier mutual respect for one another, Klimt and Schiele continued to support and guide each other through the art world. There was an obvious amount of humor between the two; only a prized pupil could have gotten away with such sheer parodies of his mentor.
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Legacy
The Vienna Secession
THE THREE AGES OF WOMAN, 1905 GUSTAV KLIMT Oil on canvas 70 7/8 x 70 7/8 (180 x 180 cm) Galleria Nazionale d'Arte Moderna, Rome
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Gustav Klimt & Egon Schiele
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
CONTRAST Gustav Klimt has never had a significant one-man exhibition in an American museum. Egon Schiele was seen importantly in American museums only once when Boston’s Institute of Contemporary Art presented a one-man show which subsequently travelled during the season of 1960 — 61. The current effort which groups together the two Austrian masters is by far the most ambitious among contemporary presentations. Works by the younger Schiele were borrowed from sources throughout the world and only a few refusals of importance have been sustained. With the massive help of private and public collections in Austria, the United States and in other countries, the Schiele retrospective is made up of major works from all periods. Klimt too is shown through kev works but not in comparable fullness. This limitation is, in part, enforced by external conditions and partly arrived at through deliberate decision. Some owners of important works felt obliged to decline our requests for Klimt’s paintings for fear that the frail and vulnerable canvases of the Art Nouveau master would suffer through a transatlantic shipment. It was by choice, however, that Klimt is here presented substantially only through works dated after 1900 and that no effort was made to gather his earlier work. Revealing as such inclusions would have been, a selection so conceived would have favored an historic rather than an esthetic point of view. This would have been contrary to our intentions. Consideration has also been given to a more comprehensive showing of Austrian art that might have included the still shadowy figure of Richard Gerstl.above all, Oscar Kokoschka, the third and most famous member of the Austrian triad. This particular concept was abandoned however, because Kokoschka might as well become the subject of a full retrospective one-man exhibition at a future date or to date. It is therefore the distinct but related art of Gustav Klimt and of Egon Schiele. The former can be seen primarily through his late work, the latter retrospectively, and both through their drawings as well as their paintings.
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Legacy
The Vienna Secession
PHOTO GALLERY
MOTHER WITH TWO CHILDREN, 1917 EGON SCHIELE Oil on canvas 150 x 158.7 cm Ă–sterreichische Galerie, Vienna
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Gustav Klimt & Egon Schiele
ANTON PESCHKA, 1910 EGON SCHIELE Black chalk and watercolor 47 x 31 cm Viktor Fogaraassy, Graz
CHURCH AT CASSONE, 1913 GUSTAV KLIMT Oil on cardboard 43 1/3 x 43 1/3 (110 x 110 cm) Courtsey Galerie Welz, Salzburg
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
NUDE, 1913 EGON SCHIELE Black chalk, pencil, and watercolor 49 x 31.5 cm Collection Viktor Fogarassy, Graz
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Legacy
The Vienna Secession
THE BRIDE, 1917-18 (UNFINISHED) GUSTAV KLIMT Oil on canvas 65 3/8 x 74 3/4 (166 x 190 cm) Private Collection
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Gustav Klimt & Egon Schiele
EDUARD KOSMAK, 1910 EGON SCHIELE Oil on canvas 100 x 100 cm Ă–sterreichische Galerie, Vienna
SELF-PORTRAIT WITH RAISED ARMS, 1914 EGON SCHIELE Gouache and pencil 48.4 x 32.1 cm Private Collecton
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
JUDITH I, 1901 GUSTAV KLIMT Oil on canvas 33 x 16 1/2 (82 x 42 cm) Ă–sterreichische Galerie, Vienna
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Legacy
The Vienna Secession
YOUNG GIRL SEATED IN A CHAIR, 1912 EGON SCHIELE Black chalk 47 x 31 cm Collection Viktor Fogarassy, Graz
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Gustav Klimt & Egon Schiele
COMPOSITION DRAWING FOR PHILOSOPHY, 1914 GUSTAV KLIMT Vienna, Historisches Museum der Stadt Wien
BEECH WOOD I, 1902 GUSTAV KLIMT Oil on canvas 39 3/8 x 39 3/8 (100 x 100 cm) Moderne Galerie, Dresden
Legacy
The Vienna Secession
Gustav Klimt & Egon Schiele
TRIESTE HARBOUR, 1907 EGON SCHIELE Oil and pencil on cardboard 25 x 18 cm Graz, Neue Galerie am Landsemuseum Joanneum
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Bibliography
The Vienna Secession
BIBLIOGRAPHY BOOKS Comini, Alessandra. Egon Schiele. New York: G. Braziller, 1976. Print. Constantino, Maria. Klimt. London: PRC, 2003. Print. Kallir, Jane. Gustav Klimt - Egon Schiele. New York: Galerie St. Etienne, 1980. Print. Steiner, Reinhard, and Wolf Fruhtrunk. Egon Schiele. Kรถln: B. Taschen, 1991. Print. Vergo, Peter. Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries. London: Phaidon, 1975. Print.
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Gustav Klimt & Egon Schiele
Bibliography
The Vienna Secession
Gustav Klimt & Egon Schiele
BIBLIOGRAPHY WEBSITES “A Kiss of Death: Klimt and Schiele.” The Starving Art Historian. N.p., 2010. Web. 08 May 2016. “Egon Schiele Biography.” Egon Schiele Biography. N.p., n.d. Web. 08 May 2016. “Gustav Klimt Biography.” Gustav Klimt Biography. N.p., n.d. Web. 08 May 2016 “Gustav Klimt and Egon Schiele” Full Text of Gustav Klimt and Egon Schiele N.p., n.d. Web. 08 May 2016. “Gustav Klimt and Egon Schiele’s Twisted Fates in Paint.” The Art Story Blog. N.p., 2015. Web. 08 May 2016. “Vienna Secession (1897-1939).” Vienna Secession: History, Characteristics. N.p., n.d. Web. 08 May 2016.
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Index
Gustav Klimt & Egon Schiele
The Vienna Secession
INDEX A
B
C
D
Anton Peschka, 53
Baby, 38 BeechWood I, 62
Cover for the first number of Ver Sacrum, 11
Death and Life, 29
The Bride, 37
Church at Cassone, 54
The Bridge, 39
Composition Drawing for Philosophy, 61
M
N
P
R
Mother with Two Children, 52
Nude, 55
Part of Head Quarters, 7
Reclining Woman with Legs Apart, 40
Portrait of Adele Bloch-Bauer, 13, 20 Portrait of Adele Bloch-Bauer II, 23 Portrait of Baroness Elisabeth BachofenEcht, 21 Portrait of Fritza Riedler, 22 Poster for 2nd Secession Exhibiton, 8 Poster for 5th Secession Exhibiton, 10
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Index
The Vienna Secession
Gustav Klimt & Egon Schiele
E
F
G
J
K
Eduard Kosmak, 57
Figther, 29, 32
Group Photo, 4
Judith I, 59
The Kiss, 16 Krumau on the Moldau, 37, 45
S
T
V
Y
Seated Woman with Left Leg Drawn Up, 41
The Three Ages of Woman, 50
The Virgin, 25
Young Girl Seated in a Chair, 60
Self Portrait with Raised Arms, 58
Tragedy, 47
Toni Pescha Jr., 39 Trieste Harbor, 63
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THE VIENNA SECESSION: GUSTAV KLIMT & EGON SCHIELE Typefaces: The text is set in Adobe Garamond Pro The headings are set in Univers 57 Condensed The accent type are set in Univers 57 Condensed Software: Adobe Creative Cloud Illustrator, InDesign, Photoshop Equipment: Apple MacBook Pro Espon Stylus Photo R2880 Paper: Moab By Legion Paper Entrada Rag Natural, 190lb, Double Sided Printing and Binding Printing: Chums Design and Print Binding: Chums Design and Print, San Francisco, CA Date: 05/08/2016 Publisher Phaidon Press Limited, New York, NY Designer Angela Mae Cortez Photography and Illustration Photographs: All taken from books located in bibliography Illustrations: Adobe Illustrator made and designed Cover Photo Hygieia (Detail From Medicine), 1900-1907 Gustav Klimt About The Project This is a student project only. No part of this book or any other part of the project was produced for commercial use.
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THE VIENNA SECESSION: GUSTAV KLIMT & EGON SCHIELE The Mentor and His Star Pupil With a nearly 30 year age difference, Schiele and Klimt had a mentor-student relationship that lasted throughout their artistic careers. From copycat styling to love triangle rumors, this twisted story is told in their paintings.   With a relationship based on mutual respect, Klimt and Schiele continued to support and guide each other through the art world. There was an obvious amount of humor between the two; only a prized pupil could have gotten away with such sheer parodies of his mentor.   Therefore when it came time to do a topic on a book of choice in the arts, I chose to combine these two artists respectively. In this book you will find the historic background of each artist, the era of art they were involved in, and an in depth look into the master and apprentice relationship they forged. Not only does their artwork captivate many people, their history is just as interesting as their paintings alike.