Schiele in Prison - ACE099.2

CU of actor as Egon Schiele as he describes his arrest on grounds of obscenity. Three Self Portrait as Prisoner (1912) by Schiele, and The Single Orange was the Only Light (1912). Prison window. Stork nesting on chimney-top. Views over towns and countryside, and Vienna. Pictures by Schiele. The Fighter (1913), Nude (1910), Self Portrait Grimacing (1910).Commentary describes his work as being "dominated by sexuality and self obsession, the classic preoccupations of the artist as outsider … at odds with his time and place…". One of the two faces from Prophets (aka Double Self Portrait, 1911). Views of buildings in Vienna and representations of court life at the end of the nineteenth century (Court Ball at the Hofburg, Wilhelm Gause, 1900; actuality footage of the Emperor Franz Josef and other royalty). Photograph of the early Ringstrasse, and views of some of its buildings ("an Athenian parliament, a Gothic town hall, a Renaissance opera house") and details of their decoration. Photographs of Hans Makart, the leading artist, and Rudolf van Alt’s The Studio of the Painter, Hans Makart (1895); details of the painting on the wall, Spring (1883-1884). Other paintings by Makart and photo of a woman in "Egyptian" pose. The Death of Cleopatra (1875); Cleopatra Hunting on the Nile (1876); The Triumph of Ariadne (1873-1874); photograph of Makart’s salon; images from the Designs for the Jubilee Procession of Emperor Franz Joseph (1879) representing The Railway Workers and The Textile Industry. Film of early cars, military procession, Kaiser and others; photograph of men skating; military exercises. Photographs of Schiele’s parents and siblings; commentary notes that his father, a railway worker, had untreated syphilis which resulted in three stillborn children and his own insanity. Railway scenes. Photograph of young Egon; Self Portrait with Tie (aka Self Portrait Facing Right, 1907), the year after he was accepted by Vienna’s Academy of Fine Art. Interior of the Vienna Burgtheater with view of mural of Romeo and Juliet (1888) by Gustav Klimt who became leader of the artistic life of Vienna on Makart’s death. Also by Klimt: Love (1895) and Minerva, or Pallas Athena (1898). The headquarters building, by Joseph Maria Olbrich (1897), of the Vienna Secession movement (Sezessionsstil), whose founding President was Klimt. Actor as Klimt saying that exhibitions, though not an ideal method, are the only means by which the group’s art can be made available to the public. Photograph of exhibition; Giovanni Segantini’s The Bad Mothers / Le cattive madri (1894); others; illustration by Koloman Moser for Rainer Maria Rilke’s Vorfrühling / Early Spring (1901); cover of fourth issue (1899) of Ver Sacrum, the group’s magazine, also by Moser. Drawing by Rudolf Bacher shows Emperor Franz-Joseph Visiting the First Exhibition of the Secession Group.