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Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides

Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
Egon Schiele - Expressionism - Art History - Human Figure - 172 Slides
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This is a complete presentation about artist Egon Schiele. THERE ARE MANY ACTUAL SLIDES IN THE PREVIEW FOR YOUR REVIEW. THIS IS YOUR BEST GUIDE TO PRODUCT QUALITY.

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EXCERPT
Egon Schiele was a Viennese Expressionist artist. This was a faction of the German Expressionist movement of the era, from the early 20th century, roughly 1909-1918. Schiele is considered a major contributor to the development of the modern art nude. Although he did both sexes in his nudes, some of his strongest nudes were his self portraits. No artist depicted men the way Schiele did and most especially in his many self portraits. When one first sees them, one thinks that they must be brand new works. It hardly occurs to us that these works are over a hundred years old!

Not only are his self portraits often erotic and nude, but they break every other barrier as well. He paints intense visions of himself in positions which recall modern dance or ballet. Yet emotions are also present. He can look ashamed or voracious or anything in between. Then he ups the ante by making it a couple pose or a double portrait pose.

Another piece of stark drama in Schiele’s life was his relationship with Gustav Klimt. His painting "Hermits" portrays both men, standing together. Schiele and Klimt stand together, almost as if fused. Although the two were close, and with very similar interests, Schiele wanted to break free from Klimt’s sway. Klimt is in the background while Schiele is assuming dominance in the foreground. Both men wear long black caftans. This is clothing Klimt had long worn and made known to the public. Schiele wore the caftans as well.
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172 pages
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