Schiele in Prison - ACE099.3

Photographs of Schiele from his time at art school and of a life class. Actor Schiele quotes the points from his manifesto to his teachers. Klimt’s Idyll (1884). Black and white reproductions of his Justice/Jurisprudence (1903), Philosophy (1900) and Medicine (1901) for the University of Vienna, which were in a more Symbolist style and attacked as being pornographic and "emotionally disturbing"; extracts from critical texts read over. Actor Klimt on the work. Actor Schiele shows some of his work to actor Klimt. Schiele’s Agony (1912) and Hermits (1912), double portraits of himself and Klimt. Some of Klimt’s society portraits: of Sonja Knips (1898), of Pianist and Piano Teacher Joseph Pembauer (1890), Mrs. Fritza Riedler (1906) Miss Emilie Floege (1902), and of Margarethe Stonborough-Wittgenstein (1905). Details of the Adele Bloch-Bauer portrait (1907), Water Snakes II (The Friends) (1904-1907), sketches for frieze for the Palais Stoclet, Brussels (1905-1907), with Anticipation and The Embrace, and The Kiss (1907-1908), showing stylistic influences of Byzantine, Oriental and Mycenaean art. Early street and court scenes in Vienna; commentary says that, unlike London and Paris, the middle class here remained quite separate from the ruling elite, and the empire was beginning to disintegrate. Commentary notes that Klimt and Schiele "began to move in opposite directions" as Schiele moved from decoration to "internal proccupations" by removing backgrounds and focussing on hands and eyes. A Schiele Self Portrait. Portrait of Hans Massmann (1909). Reclining Male Nude with Green Cloth (1910). Another Self Portrait. Fighter. Schiele also became "obsessed with his own appearance": Self Portrait (1910), Seated Male Nude (1910), Self Portrait Nude (1910), Standing Male Nude, Facing Front (Self Portrait) (1910), Self-Portrait with Naked Shoulder Pulled Up (1912), Prophets (Double Self Portrait), Self Portrait, Grimacing, another Standing Male Nude, Facing Front (Self Portrait) (1910), Self-Portrait in Black Cloak, Masturbating (1911), etc. Actor Schiele quoting letter to a would-be patron in which he complains of hostility to his work. Anton Josef Trčka’s portrait of Egon Schiele (1912) and photographs of Klimt and Arnold Schönberg, among a group of artists ridiculed by the public. Photographs of political meetings and demonstrations; photographs of Sigmund Freud whose theories "were laughed at or disguised". Another Egyptian subject by Makart; photograph of Makart with the painting; his work had been "acceptably erotic … contained within an historic framework". The "more provocative" sexuality of work like Klimt’s Judith with the Head of Holofernes (1901), and sketch of woman masturbating and Medicine, acceptable only to private collectors. "Egon Schiele’s work implicates you, the viewer, in an enclosed world of self absorbtion": Schiele Drawing Nude Before Mirror (1910) and sketch of Nude (1911). Nude with Violet Stockings (1912), The Virgin (1913), Seated Couple (Egon and Edith Schiele) (1915). Others including Standing Female Nude with Crossed Arms (1910). Lovers I (aka Man and Woman I, 1914).