GLSTAV RLIMT
mi
EGIN
THE SOLOMON
R.
SC II1ELE
All
Rights Reserved
Printed in Austria
Library
Number 65 16678
THK SOI.OMOX
R.
GUGGENHEIM FOUNDATION
TRUSTEES
HARRY
E.
GUGGENHEIM, PRESIDENT
DANA DRAPER
PETER
A.
O.
LAWSON-.TOHNSTON
CHAUNCEY NEWLIN
MRS.
HENRY OBRE
MICHAEL P.WETTACH
MEDLEY
G. B.
WHELPLEY
CARL ZIGROSSER
THE
llilHT
\IITi;
i:\illltlTISI\
museum. Egon
when Boston's
Schiele
one-man exhibition
significant
in
Institute of
61.
far the
is
by
in
an American
The current
which
effort
contemporary presentations.
Works by
the younger Schiele were borrowed from sources throughout the world
refusals of
and public
Klimt too
limitation
is
is,
is
made up
deliberate decision.
by
Some owners
Klimt
in
comparable
of important works
suffer
is
through
frail
felt
in other
all
periods.
This
fullness.
the Art
and
at
through
a transatlantic
shipment.
It
was
effort
was made
an historic rather than an esthetic point of view. This would have been contrary
to our intentions.
shadowy
figure
Oscar Kokoschka, the third and most famous member of the Austrian
above
all,
triad.
still
of a full retrospective
one-man exhibition
at a
future date.
the
former seen primarily through his late work, the latter retrospectively, and both
a single
showing
at
that
is
Thomas M.
Messer, Director
imnwmiiiui
making for
tiie
only because the initiatory effort of the Guggenheim Museum received the full and
generous cooperation of government and museum officials, scholars, collectors, and
dealers in Austria, the United States, and in a number of other countries.
Central to this effort was the unstinting help given by Professor Dr. Fritz Novotny,
Director of the Osterreichische Galerie in I ienna, who was first to commit a number
of important works from his Museum's permanent collection and who persuaded some
of the most important Austrian Klimt and Schiele collectors to support the Guggenheim
Museum's exhibition through loans of great importance. Through its staff, the Osterreichische Galerie. with the extensive aid of Dr. Klaus Demus, also acted as an Austrian
gathering point arid arranged for the punctual arrival of previously selected ivorks.
As the following lenders' list indicates, other Austrian museums, through their directors
and staffs, seconded the support initially received through generous loan arrangements
and through a variety of helpful acts. The same may be said of galleries and individual
lenders in Vienna and in other parts of the Austrian Republic. Among these, the
participation of the Klimt oivner Mrs. Marietta Preleuthner, the Schiele specialist
Dr. Rudolf Leopold, and of Mr. and Mrs. I iktor Fogarassy, who have assembled
the most extensive private collection of the two Austrian masters must be specially
noted, if only because their combined participation supplementing museum loans
assured a desirably broad basis for the exhibition, hi addition to those here mentioned
or subsequently listed, the anonymous but decisive aid of the Austrian Ministry of
Outside of Austria and the United States, sizeable loan contributions have been obtained
from the Narodni Galerie in Prague and through Marlborough Fine Art Ltd. in London
who have graciously assisted us in the preparation of some color plates.
A thorough documentation could not have been secured for this catalogue without the
specialized knowledge of Klimt and Schiele scholars. Our thanks, in this respect, must
first go to Dr. Johannes Dobai, Zurich, who contributed relevant portions from the
documentary section of his as ret unpublished Gustav Klimt. An analogous service
for the Schiele documentation has been performed by Dr. Otto Kallir who, under the
name of Otto Nirenstein, had published in 1930 the first catalogue raisonnee of Schiele's
paintings from ivhose pages we quoted at will. Material due to be published in an
updated and English version was also placed at our disposal by the author. The lenders
themselves, and notably Professor Dr. Fritz Novotny have cooperated by furnishing
valuable information relating to ivorks in their possession. Finally, the documentation
of the catalogue was enriched by Miss Sandra Comini who engaged in a recent and
new clues on Schiele. Miss Comini allowed me to read her unpublished
thesis Egon Schiele, The Artist's Vision of Himself and to incorporate in various
parts of this catalogue such findings as seemed pertinent to our purposes. Also,
fruitful search for
ami
Professor
James
written
T.
Linda Konheim.
T.
M. M.
in tin: i:\uimiu\
u:\iiiiss
ictor
W.
Dr. Albert
New York
Grokoest,
Eberhard
&
M.
New York
estport, Connecticut
Nebehay, Vienna
Hamburg
G. Poppe,
Neiv York-
S. Stralem,
Neue
Galerie
am Landesmuseum Joanneum,
Graz, Austria
The Minneapolis
The
Museum
Institute of
of Modern
Art,
New York
Museum
Ndrodni
Galerie,
Prague
Graphische
Sammlung
llistorisches
Museum
Niederosterreichisches
Albertina,
ienna
Landesmuseum
Osterreichische Galerie,
ienna
Vienna
Osterreichisch.es
Museum
Osterreichisches
Museum
fiir
Ltd.,
Marlborough-Gerson Gallery,
Galerie St. Etienne, Neiv
Galerie
(I
iirthle,
Vienna
ienna
Angewandte Kunst,
London
New York
York
ienna
10
mm
THOMAS
M.
MESSER
than one hundred years after his birth, is little known outside
and therefore one hesitates to speak of rediscovery where discovery
in a general sense has never taken place. His work, however, seemingly old-fashioned
his native Austria,
a generation ago, has moved toward the center of modern perception. This has
happened not only because of the vital content of Klimt "s drawing and painting,
but also because of a readjustment of our critical sensibilities in recent years. Klimt
we
During the
first
in
other directions.
largely unnoticed,
we were
situated within a range of glaring lights that delighted and totally absorbed our
vision.
faintly
Thus it is not surprising that our averted faces could not be mirrored
shimmering surfaces of Klimt's subtle art.
EGON SCHIELE,
first
among Austrian
artists,
in the
was renounced
mainstream which
from
1908 to 1918
Although,
he
did not
toward non-objective
abstraction, Schiele partook of the visual insights that marked this most radical
of modern decades and was nourished by the great precursors of modern art. His
draftsmanship and psychological actireness recall a similar combination of qualities
follow
in Toulouse-Lautrec.
at
that
time pointed
Van Gogh
common
clearly
is
to
vision.
His
color
it
would seem,
is
the very intensity of his painting and drawing, his brutal evocations of realities too
unwelcome
postpone
to be admitted, that
a painful
is
made
us turn
away
in
an
effort to
avoid or at least
that increase rather than absorb the shock of confrontation. In this respect, he goes
further
only
than
his
German contemporaries,
to
Bacon
KTIMT
and
SCHIELE were
not,
is
a complementary relationship in their personalities and in
work that makes the contribution of each more meaningful when
both are seen and considered together.
Nevertheless,
there
their respective
II
The
differences in the
two
personalities
and
almost thirty years Schiele's senior, Klimt leaves a biography so hare of external
events that an attempt to record
his life are
it
few and uninformative. Even the public quarrels which he could not
avoid as the undisputed spokesman and ranking painter of the Viennese avant-garde,
in
human
his
He arranged
private
his life to
life
story
is
By
it
thus
fails
contrast, Schiele's
life
artist into
the roles of hero and martyr. Schiele's debut as a child prodigy was accompanied
by
early conflicts at
home and
at school.
adolescence and early youth, social isolation and erotic excesses, resulted in a
showdown
with philistine provincialism, which brought about charges of immorality and a twentyfour day long prison sentence. Feverish work, uninterrupted by the complexities of friend-
within days.
The painting and drawing of these two artists reflect both their respective disengagement from and involvement with the events of their lives. Where Klimt is ornamentally
decorous, Schiele
is
in
when seen
in
juxtaposition with Schiele's fauve and eventually expressionist use of color. Klimt
strives
through formal means to attain an order that, not unlike Mondrian's, reduces
more
in contrast
common
evoking
modern
art,
However, not everything between Klimt and Schiele is contrast. Similarities in their
and backgrounds are also demonstrable, as are analogies in their respective
work: Klimt's mother and Schiele's father died insane, and during their lifetimes
lives
both artists reacted with understandable sensitivity to their fearsome and similar
12
time and
common
to both,
is
not
in
But Klimt and Schiele felt compelled to visualize for themselves, and
inevitably for others, what had until then been relegated to a most private domain.
Inevitably, therefore, clashes between a truly Freudian irrepressibility and a
conventional sense of decorum had to arise. Given the charged atmosphere in which
Klimt and Schiele imparted forbidden knowledge through the most explicit of art
forms the visual media of painting and drawing the personal consequences could
not but be varying degrees of disgrace, humiliation and withdrawal. Thus, although
Klimt and Schiele spring from different generations, there is about them both the
faint but pervasive fragrance of fin-de-siecle that lends a sickly and tortured quality
originated.
The
relationship
but in
its
is
speculation:
we know
that Schiele
when
still
a student at
artists.
artist
matter of record
necessarily inconclusive
if
Academy
the Vienna
later, in various
that this counted heavily in Schiele's early efforts to assert himself and that
development of a style
Less verifiable,
although
is
in
helped
criticism
in
1907
Schiele's
is
cpiite
it
after 1910.
about a
that Schiele
Schiele's
artists.
It
make between
century.
is
1.
2.
The
bridged.
Artist's
(in preparation).
Vision of Himself,
unpublished Master's
thesis,
13
26.
THE HERMITS,
1912
by Egon Schiele
MJSTAV KLIMT
17
1862
Born on the night of July 13th, son of the goldsmith and engraver Ernst Kliml
1894) and his wife Anna Finster, in Baumgarten, a suburb of Vienna.
(1832
1876
1879
1881
1882
1883
1886
ceiling
paintings
for
the
Hasenauer).
Awarded
1888
Completion of
1891
ceiling paintings.
Kaiserpreis.
Museum
in Vienna.
1892
Death of
1893
Joined
1894
Death of
his
W iener
Kunstlerhausgesellschaft.
his father.
whom
Law
assembly
hall
of University of Vienna.
1895
year.
.
1896
1897
On
Met
architect Josef
April
3.
Hoffmann
Kiinstlerhausgenossenschaft.
On May
25, during its second meeting, the group declared its independence.
Foundation of the Vereinigung Bildender Kiinstler Osterreichs, Secession.
Klimt became first president. Work on the faculty panels; many modern works.
18
1898
In March,
in the
first
Parkring.
faculty painting.
First
Philosophy, caused
scandal
like
at
the
ithena.
['alias
Ttli
spring
exhibition
of the Secession.
klimt in a lecture.
In the autumn the work received the
Medaille
d'llonneur
the Paris
at
\5
orld
Exhibition.
1901
Even
picture.
Medicine, in the
On March
was
for the
painting
confiscated.
On March
Klimt begun
on same day.
On March
published Rede
iiher
Hermann Bahr
Klimt.
Germany.
for professorship at
Viennese Academy.
friezes.
Klimt
Max
Beethoven exhibition.
answer to criticism of
his Goldjische.
Painted his friend Emilie Floge. designed dresses for her fashion studio.
1903
in
exhibition).
In the course of the vear tension began within the Secession; foundation of the
left
19
Hoffmann's commission
1905
Ministry of Education.
Final break with official art.
Government prevented
his
appointment
Romana
to professorship.
prize.
London
in
frieze:
many
articles
faculty panels.
1907
Exhibition of the
final
in Berlin.
the
young Egon
Schiele.
in a
temporary
1909
1910
Drew
1911
his
1912
Important
1913
1917
paintings of the
1916
summer
Kaminer.
style.
and
Academy.
1918
Died February
6.
10.
Munich
20
GUSTA1 KLIMT
The
last
HIT
P.MTER
\0ITE.1I'
similarity of
johannes dobai
own
artistic
era.
phenomenon. Expressions
like
we
we
still
complexity of
proto-Art
us of the
For those who are following in the steps of Conrad Fiedler, the concept of Art Nouveau
much can be
Nouveau was
and the
cubists.
in
Cezanne
According to this theory, the association of this revolutionary style with the
and
On
in
part,
artistically
Nouveau had
which sees
Seurat,
in
with Blake,
we
also Stuck.
^ hen
we consider
it
is
a formalistic
conception
Nouveau
originated
all
Nouveau movement
in
One consequence
Secession, an important
modern
artists'
century, this painter was once an outstanding figure on the international stage of Art Nouveau.
Considering the quality of his work also, the rediscovery of Klimt was long overdue:
because
example of the
art of a
it
offers a
happened
complete
in
21
Klimt's mature work exemplifies the characteristic features of this phase, the symbolical
basis of the pictorial representation, together with the tendency to abstract this symbolic statement
into stylized, geometrical, two-dimensional forms. Klimt's case seems to strengthen the older
point of view that Art Nouveau's real territory lay in the area of applied
art.
He
in the radical sense of Maurice Denis' theories; rather, more than any other
of his contemporaries, Klimt treated the painting as a material object as well as a vehicle of
representation and carrier of symbolic meaning. For this reason, he employed techniques which
and
rendered on
i.e.,
is
more developed
work than
in Klimt's
The painting
it.
material-structural laws,
in
follows both
The ornamentalization
elements
silver color
of representational
him
initially influenced
in this direction.
One
in Brussels,
of Klimt's most important designs, a frieze in the dining hall of the Palais Stoclet
se.
generation created similar designs for the applied arts, Klimt's frieze
as
among
which we
artistic intuition,
frieze (one is
tempted to
call it
is
While other
enamel
artists of his
unique in that
it
reveals
scientific
and that
perspective,
his
paintings "were composed with incredible audacity around 1900 of two kinds of elements: the
representational and the abstract." (Hildebrand) Only in the Cubist collages did something similar
occur. Already Klimt proceeded (in a precubist
style,
of course) as
all
if
he were assembling a
deformed or fragmented.
Because of these innovations, the images in Klimt's paintings are ambivalent. The
multiplicity
and
is
Every painting
more
or less coherent
"key"
and continuous;
this is
by
aerial
Klimt, however, broke with the continuity of spatial representation, circumvented the whole
own
equal to the fragments of representation in his paintings. Thus, his planes of ornament are
fundamentals
different
really existing
they are
ornament (although
in
in several cases
picture plane:
it
this
together. Klimt
Vuillards.
foil, it
sparkles
depending on the spectator's point of view. Ornament not only forms a second
is
autonomous from
we
lie
very beginning.
in
It
were striving
for something remotely similar with more limited means. Klimt's solution naturally depends on the
immediately preceding steps of Art Nouveau; these are too numerous to mention here. The general
precondition of this development
ment
"Que
cosmetique
is
la poesie
par Faccouplement de
se
substantif avec
tel
de
la cuisine
et
du
analogue ou contraire."
adjectif,
tel
(Baudelaire)
Klimt's art
contrasts.
is
simply refined;
not
is
it
upon
built
balance of
a precarious
all
possible
of the heads, which he sets in the canvas like precious stones in goldwork. His art, which at
strikes us as "intellectual" also has its
at that time
as a
matter of
fact,
dark "Slavic"
we examine
which
his esoteric
of
both to
wavy
lilies
its
its role
closely,
historical source
Nouveau whiplash
a typically Art
refers
ornament more
independent from
is
line, or a
in the painting
we
find in
effortless precision
is,
it
whether
this
is
itself.
suggests the Egyptian staring eve motif, but a remarkable change has taken place,
connotations
remarkable
effect,
and here
also,
the motif
is
which assumes
all
is
is
elusive.
Later, after
serious.
at
all.
One
of Klimt's
contemporary neoroniantic
veils,
fiery
whirlwind
stretched nets."
W eltrdtsel
Now
of his paintings.
window
mythical
shapes, flashing lightning and the darting tongues of serpents, clinging tendrils,
more
its
emptied of
women's breasts
the ornamental elements are ambivalent, and their general meaning, too,
admirers,
first
side, as this
freer
In his late, open style, parts of the canvas seem to project a state of spontaneous psychic
An
clearly*
On
are the consequence of a long development, which cannot be traced here, since
it
involves the
were
allied
art
of the Pre-
Raphaelites.
We know
little
today about the ideas and experiments in Europe which were intimately
An
artist
Who.
for instance,
knows anything
he handled pictorial motives and ornament in a similar fashion. Lovis Corinth's essay describing
23
may
toward loading
his
an inner condition,
classically
work of
little
we know about
it
The
first
1904 with some friends); a figure of robust health and physical strength,
in
ill.
about
many
that he disappointed
perceptive
usually
heavy,
athletic,
than Munch.
would have
his hair
mother was
Klimt's
artist
liked
to
with
wrestle
"He
description:
rather superficial
to a
a decadent
like
(Tietze)
guilt"
people.
observer,
and
heredity
little
wears
less so
"cerebral erotic" (Blei), Klimt suffered at times from depression, intensified by his
mentallv
means.
collective
artificial
reading
problem of perfecting
it
art.
What
Hodler,
has
is
Lichtwark.
squat,
cheerful
the
figures)
somewhat
rough ways
sailor,
perhaps to make
his temples,
his face
He
is
one of the
company
first
people in Austria to
of Emilie Floge,
whom
appearance; to those
Philistine about
in the spotlight of
"To
existence
and ordinary
and manners
full
them; he guarded
Viennese
artistic life,
We know
life
was spent
city)
in isolation.
The
life
Circumstances placed
branches into
its
is
more
closely.
From
erotic
can be
disappear from Klimt's work. His female portraits are psychological studies of a nervous luxury
(one
is
strange visions of
petrified
in the colorful splendor of a pictorial tapestry. The earlv landscapes often show a
swamp
or a
into a rich
and
sensuous surface. Paintings of gardens are frequent. The theme of the profusion of nature viewed
intimately also fascinated
art
in
repeated ornamentalized leaves and flowers stress the unfree and predetermined aspect of the
biological world.
Huysmans
We
(La-bas); however,
is
vision of nature in
Even
made
24
distance"
is
in Klimt's landscapes.
figurative pictures,
While
and
effect,
equal to Beardslev.
fundamental theme in
works
in the
Even
experiments in symbolism in the 90's were based on those of the Pre-Raphaelites and Klmopff, Minne
and Stuck. At that time Klimt was a typical painter of the "femme fatale" and shared with
contemporaries the elaborate hair fetishism
common
since
Rossetti.
It
his personal
his
very characteristic,
is
his
break
with tradition was to be fateful for his entire career. Klimt interpreted his three panels for the
University of Vienna on the theme of the faculties of philosophy, medicine, and law through a
kind of pessimistic determinism which recognized the biological as the only true element of
life,
Ignoramibus could be
bought back from the Ministry of Culture. Wickhoff noted the emergence of a new concept of
science
and ugliness
in the panels.
woman
(a
later
developed independently) and ornamental motives emerge at random. The panels evoke Freud's
region of the subconscious, especially the last of the three, the
In
Beethoven
Law
panel of 1907.
this
frieze,
Demonic
is
Klimt's contemporary
furies, "partially
tuberculous and knock-kneed, partially overripe voluptuous hetaerae," to use the words of a hostile
critic, are
man
Kafka). Here and in the mature paintings as well, one can discern how the ornament strengthens
The
furies' hair
"a new American execution machine, system of a thousand suction cups which function
...
submarine
The Ages of
like
Man
is
sometimes embodied
is
Life.
(kiss).
naturalistic
figures
convincing than
his
suffering,
in favorite
for
motives
is
notable;
the traditional symbol of the skeleton dressed as a high priest. Klimt shares
if
and Hodler
mankind, brutish,
"fateful passivity of
an overwhelming instinctualitv as
which symbolizes
tendency
as
elements
Munch when
all
toward
comprehensive
stronger
of contrast,
he deals
with
or
frieze of
life.
emblematic
and by
the
Munch. He
horror
his
theme
<>l
man
But he
stvlization,
vacui.
differs
his
Klimt
from Munch
adherence to
is
much
less
as a self-isolated individual.
25
Klimt's late phase brought a new, more open expression of agony. Around 1910 he loosened
his
bond
to the
visit to Paris.
Whatever
the cause, the transformation of Klimt's art was critical and rapid. At this time, he repainted
Life,
and replacing precise ornament with looser block-like forms reminiscent of huge
but
The
cells.
suggesting the noisy salmon red which Klimt often used. Composition became more dynamic,
Here a tangle of
women's
ecstatic
faces
spiral:
the insistently repeated smaller spirals of the ornament reinforce the expression of inner ecstasy.
it
usually described.
is
work
klimt's
18, is
if
figures
One
fatale."
in
interest of the
voung Kandinsky;
his
experiments in composition have impressed many, and there are elements in his work which only
our
unknown
of the
German
in France,
life left
as
an antipode
theoretician
for the
movement wrote
Expressionist
has a spark of
the whole, however, Klimt's work did not lead into a wider stream
which remained
still
On
appreciate.
in it."
his
referring to
was
which
Schiele. Schiele,
variant on a nude in the Medicine panel (interestingly, a female figure); later he drew Klimt on
the deathbed, shortly before his
as in those
and Klimt
the
first
his
clarified. It
Old
Woman
began
in the
in
any case
is
to be found
is
own
much
in 1909,
The
artists.
when
interrelationship of the
it is
its
Dead Mother
sombre
colors,
Klimt was influenced by Schiele's presence. Sometimes the similarity between their works
surprising, for instance in the landscapes with church steeples of 1913.
common
is
similar. Later
both tended
artistic tendencies.
Klimt and Schiele established an autonomous world within Viennese modern painting,
shared only with the young Kokoschka. Their world
basic
modern experience,
than
shriek of loneliness.
this anxiety
is
is
is
works of these
in a
artists
Kirkegaardian
the fruit of the dissolution of an overripe culture which was overcome by world
Translated by Dr.
filled his
to
The
his pupil.
Anxiety reveals
artists express a
kind
ol
Miss Winifred
Mason
itself
nihilism
fill
this
27
DR.UYMiS
1.
l\
THE EXHIBITION
NUDE MODEL.
16fxl<H"
(41.5
26 cm.).
2.
1900-03.
Pencil,
21fxl3f" (55x35
cm.).
3.
4.
1903-06.
Sammlung
Collection Graphische
54.5 cm.).
Albertina, Vienna.
1905-07.
Collection
5.
6.
Neue
am Landesmuseum Joanneum,
Galerie
c.
1910.
Graz, Austria.
Collection Dr.
LOVERS,
1910. Pencil,
c.
22|xl44" (56x
cm.).
36.5 cm.).
7.
Collection Graphische
8.
SEATED WOMAN.
1912-15.
Collection Graphische
9.
c.
Collection Christian M.
10.
11.
MADA PRIMAVESI.
c.
1914. Pencil,
Collection Graphische
Sammlung
STANDING NUDE.
1916. Pencil.
W.
(37
X 56.5
cm.).
22x
14-}"
(56.5X 37 cm.).
Albertina. \ ienna.
22+xl4}"
(57
X 37.5
cm.).
New York
(57
37.5 cm.).
e.
1916. Pencil,
22fx 14}"
(57
37.5 cm.).
c.
37.5 cm.).
c.
1916. Pencil.
Vienna.
22|x 14|"
and Vienna.
Graphische Sammlung
1916. Pencil,
Vienna.
c.
and Vienna.
16.
14ix22}"
15.
Kornfeld, Bern.
14.
22+xUJ"
Albertina, Vienna.
1917. Pencil,
13.
Nebehay, Vienna.
12.
Pencil,
Sammlung
RECLINING NUDE.
c.
Albertina. Vienna.
Albertina, Vienna.
1916-18.
Pencil,
cm.).
17.
HEAD OF A
GIRL. 1916-18.
Collection Graphische
18.
19.
36.9 cm.).
Albertina, Vienna.
Pencil.
22x141" (56x36
cm.).
Nebehay, Vienna.
1917-18.
(51x33
cm.).
Nebehay, Vienna.
Collection Christian M.
20.
Sammlung
STUDY OF BABIES,
c.
21.
RECLINING
Collection Graphische
22.
24.
25.
Graphische Sammlung
SEATED HALF-NUDE.
Sammlung
WOMAN
WOMAN
(51.3
Sammlung
37 cm.).
37.2 cm.).
37 cm.).
32.8 cm.).
Pencil,
19x 134/
(49.5
33.6 cm.).
Albertina, Vienna.
Pencil, chalk,
224x14 J"
(56.7
37.2 cm.).
Albertina, Vienna.
Pencil,
Albertina, Vienna.
Pencil,
19|Xl2|"
(49.6
32.4 cm.).
Albertina, Vienna.
Pencil,
RECLINING NUDE.
Pencil, 14^x224/'
(38x57.2 cm.).
33.
Sammlung
144/' (56.5
Albertina, Vienna.
IN CLOAK, STANDING.
Collection Dr.
32.
Sammlung
Albertina. Vienna.
201x13"
Sammlung
Collection Dr.
31.
Pencil,
Sammlung
cm.).
Albertina, Vienna.
Collection Graphische
30.
(56.5
Collection Graphische
Collection Graphische
29.
22^x144/
Collection Graphische
28.
Pencil,
STANDING NUDE.
Collection Graphische
27.
Pencil, 224,
Sammlung
STANDING WOMAN.
14^x22" (37x56
pencil,
Albertina, Vienna.
Collection Graphische
Collection Graphische
26.
ARMS. Red
Albertina, Vienna.
23.
Sammlung
Pencil,
22+xl4|"
(57
37.5 cm.).
37.5 em.).
34.
Pencil,
35.
RECLINING NUDE.
36.
S.
Sabarsky,
New
York.
Pencil,
18 x 124/'
(46x31
cm.).
22|xl4f"
(56.4
x 37
cm.).
29
12
30
skl
m/
^
%>
ffy
/
\
'
^t
\.
r- -
\^C
T^
UT
^W
20
?\
21
22
PAIITIMS
THE EUIIIHTIIU
33
34
"BEWEGTES WASSER".
c.
1900.
Private Collection,
New
If
ork.
References to
MEDICINE.
(Oil
1897-1898.
Oil
Literature:
3.
or dated.
2.
12.
no. 102.
j.
ATTERSEE. 1900-1901.
Neue
Wien
Literature:
dobai.
York. 1959.
\ork. 1961, no.
Oil
Not signed
New
New
New
Galerie, \ ienna.
3.
1937.no.
HATLE,
I.
pirchan,
E.
DOBAI.
J.
1.
pi. 55.
New
New
New
11.
York, 1959.
York, 1961, no.
3.
werner,
Arts,
a.
New
dobai.
j.
"The World
of Gustav Klimt",
no. 107.
35
FRUIT TREES,
Not signed
Oil
Not signed
or dated.
c.
1902.
Neue
Galerie, Vienna.
bis
40.
bis
no. 30.
18971905,
9.
Von Schindler
Literature:
Von Schindler
Literature:
H.
seine
XX,
1927, p. 505.
Liechtenstein,
schaften",
Oberosterreichische
July December,
hatle,
I,
DOBAI,
J.
M.-j.
Heimatblatter,
1951, p. 111.
36
PEAR TREES.
Oil
1903.
cm.).
Provenance
Neue
Galerie, ^ ienna.
New
York.
7.
Deutsche
Kiinstlerbiindausstellung,
Berlin,
Literature:
hevesi,
l.
I.
dobai.
j.
14.
York. 1959.
Vienna. 1906.
hatle.
New
New
p. -151.
37
Detail
from
the project
38
7H
71
39
7D
7.
7E
7F
1905-1909.
no. 325.
This project
is
semi-precious
enamel
for
the
white
majolica,
Stoclet
Palace in
marble,
Palais
by
Wien
Literature:
9 panels.
1961,
Brussels,
Joseph Hoffmann.
Mixed media,
Beaux-Arts,
i.
steinmetz.
l.
H. Small
Screen,
decorative
section,
78x35f"
(197. 7x
91.1 cm.).
I.
Collection Osterreichisches
Vienna.
Exhibitions: Galerie Nebehay, Vienna, 1920.
25-31,41-44.
p. 189.
12-17.
fleischmann,
b.
p. 11.
hatle,
i.
p.
nos.
1961.
78-86.
metal and
Brussels, designed
des
Paris,
P.
392
ff.
h.
"Josef Hoffmann
Briissel",
lite
uml
Vienna, 1956.
Osterreichisches Museum fiir Angewandte Kunst,
Vienna, 1959.
pi. 3.
dobai.
.1.
no. 148.
40
FARM GARDEN
10.
Exhibitions: Kunstschau
IT ien.
c.
1908 (re-
cm.).
Rome.
no. 98.
1828.
Berlin, 1950.
no. 18.
Dum Umeni
Literature:
or
worked 1911).
Oil on canvas, 701 X 78" (178 X 198
Signed 1. r. "Gustav Klimt".
Oil
honigschmid,
XX,
DUBAI,
j.
L916 or
Thiemein
1914.
17.
1927, p. 505.
Prague,
66.
R.
Rudolphinum,
Prag".
VS
no. 146.
no. 54.
ORCHARD.
1907-1908:
Literature:
39-V"
Signed
Collection
Museum
New York.
Etienne, New York,
Etienne, New York,
Galerie St.
Literature:
Werner,
Galerie St.
Arts,
A.
New
dobai.
j.
"The World
no. 154.
p.
206
l.
ft".
pollak,
o.
lung in
Rom,
weixlgartner.
1959.
p. 31.
ill.
Klimt"
no. 48.
of Gustav
hevesi,
A.
p. 288.
stork, w.
p. 481.
41
10
utid Dekora-
March
1914,
p. 11.
II.
and altenberg,
P.
11,
pi. 18.
fleischmann,
pp. 9
B.
opp. p. 105.
n., pi.
hatle,
dobai,
I.
j.
42
11
11.
I.
1909.
12.
Rudolphinum.
room
22, no. 3.
Prague,
Beran, Prague.
Exhibitions: IX.
1910.
no. 100.
Literature:
Esposizione
enice, 1910,
Internazionale
di
1 enezia.
19.
Academy
29.
of Fine Arts.
ienna. 1948.
Klimt
9.
bis
l.
1910.
Kiinstlerhaus
Xeue
Galerie
am Landesmuseum Joanneum.
1909, p. 223.
ill.
Kinu>T,
K.
Kunst
Alle.
tietze,
h.
"Klimt,
F. Becker, vol.
XX,
honigschmid.
R.
Gustav",
U.
50.
bahr.
ii.
Thieme-
1927, p. 505.
"Die
2.
karpfen.
F.
Gegenuartskunst, vol.
3, Osterreichi-
Moderne
Galerie
in
hatle.
I.
Liechtenstein,
koller.
seine
schaften",
July
Oberbsterreichische
December.
hatle.
I.
dobai.
j.
m.-j.
1961. p. 113
Heimatbldtter.
ff.
zum
e.
\ ienna.
dobai.
September 1962
j.
p. 55.
no. 161.
October
1963, p.
6.
43
44
'*WM$M
14
13
13.
1910.
III.
Provenance: Hermann
"Painting and
Literature:
Exhibitions: IX.
Esposizione
ill.
New York
and Vienna.
Internazionale
Esposizione Internazionale
di
p. 5.
geist,
"Month
s.
January 1958,
lenezia,
dobai,
1.
Rome,
The
Acquisitions",
York, 1959.
Museum
Hills, California.
Vienna.
Eisler,
New
Sculpture
j.
in
Review", Arts,
New
York,
p. 46.
no. 167.
Museum
Baltimore
New
New
13.
York, 1959.
of Art,
15.
Baltimore,
1964,
no. 110.
Literature:
bahr,
MADA PRIMAVESI.
Oil on canvas,
and altenberg,
h.
p.
4.
(150
X 110
cm.).
"Gustav Klimt".
Collection Mrs. Andre Mertens, Westport, Connecticut.
Provenance Primavesi, Vienna.
Signed
1912.
59x434/
1.
r.
Liechtenstein,
seine
schaften",
j.
p.
113
Bernatzik, Vienna.
Heimatblatter,
Oberosterreichische
Hugo
m.-j.
ff.
L'Exposition
no. 165.
1937, no.
THE PARK.
1909-1910?
St. Etienne,
Esposizione
New
York.
Internazionale
di
Venezia,
Literature:
rntion,
1911, Austrian
New
Art,
Darmstadt,
New
no. 10.
York, 1959.
April
September,
1916,
1956,
Modern
ill.
pirchan,
Kunst im
of
1937,
5.
p. 59,
1!.
Rome,
Secession
The Museum
Paris,
no. 50.
Oil
Provenance: Galerie
no. 63.
1903?
c.
Autrichien,
no. 361.
Osterreichische
14.
d' Art
ill.
hatle,
I.
dobai,
j.
e.
pi.
VI;
45
m
*m^mSKJi^s
^'
15
46
18
16.
HOUSE ON ATTERSEE.
1912-1911,
on canvas, 43+ X43+/' (110x110 cm.).
Signed 1. r. "Gustav Klimt".
Oil
18.
CHURCH
IN UNTERACH, ATTERSEE.
Literature:
dobai,
j.
no. 173.
1916.
cm.).
Ncue
Galerie
am Landesmuseum Joanneum,
fleischmann,
5.
b.
Liechtenstein,
Jl.-j.
seine Oberosterreichischen
schaften",
December
HATLE,
I.
dobai,
J.
Oberosterreichische
Heimatblatter,
1951, p. 114.
47
17
17.
THE VIRGIN.
1913.
Literature:
Oil
p.
"Klimt,
H.
Gustav",
U.
F. Becker, vol.
XX,
no. 23.
honigschmid,
R.
1914,
12-13.
volavka,
11.
Thieme-
"Die
Moderne
Galerie
in
eisler, M.
Dum Umeni
2.
v.
Pruvodce
po
Moderni
Galerie.
pirchan,
ill.
e.
strobl,
a.
j.
"Osterreichische
hunderts in
dobai,
j.
der
no. 179.
48
rcr*
ufr,>V
%.
L.-^j^ff^aMCt.-l
'-t:,i -,!<(
0-i>.'ii-iif.;'V'<<i>
49
'
t.nfr
**-
0X
ir-i,
}-
:
'
t9
'^-',*"
;
>.-
'
K*t'
20
19.
on canvas,
664.
51
(168
x 130
20.
1916.
u.r. Friederieke
Maria Reer".
Collection Federica Reer-Monti,
Vienna.
room IX.
Galerie St.
Exhibitions:
steinmetz,
l.
Klimt
I.
pirchan,
SELZ,
E.
pi.
104.
ley
C. G.
p. 12.
dobai,
j.
no. 193.
Literature:
um
strobl,
6.
a.
ill.
dobai,
P.
Wien
16.
hatle,
am Landesmuseum Joanneum.
bis
Neue Galerie
p. 189.
fleischmann,
16.
Literature:
1916.
cm.).
1.
1.
"
j.
no. 192.
50
21
21.
SCHONBRUNNER PARK.
1916.
Neue
Galerie
22.
dobai,
j.
am Landesmuseum Joanneum,
7.
no. 189.
DANCER.
Oil
1916-1918.
on canvas, 71 X 351" (180 x 90 cm.).
Not signed
or dated.
Lent by Galerie
St.
Etienne,
New
York.
Literature:
New
New
room
I.
no. 47.
York, 1959.
York, 1964, no.
16.
steinmetz,
dobai,
j.
l.
no. 211.
51
22
52
23
23.
GARDEN.
1916-1918.
24.
^ iirthle.
Osterreichische
Kunst im
or dated.
Lent by Galerie
St.
Etienne,
New
\ork.
New
\ork.
Literature:
(unfinished).
Not signed
Vienna.
BABV. 1917-1918
Oil
Oil
Von Schindler
bis
Kunstschau
fleischmann.
b.
no. 48.
Wien.
Vienna.
1920,
hatle,
I.
PIRCHAN,
E.
dobai.
no. 197.
j.
pi.
Literature:
fischel. h.
72.
York, 1959.
109.
New
New
room IX.
seiner
Freunde",
Die
Bildenden
1 ff.
fleischmann,
pp.
12-13,
hatle,
I.
dobai,
j,
B.
pi. 25.
53
24
54
,tit
EXHIBITIONS OF PAINTINGS
i.IIOI'P
of the catalogue.
1902.
The
in this catalogue
is
Rome,
Esposizione Internationale,
September
30,
1913, Aus-
Von
1926.
Gaterii.
academy of fine
reichischen Kunst.
by E. Stohr and
G.
C. Moll.
di
nebehav. Hotel
Bristol,
FRIEDRICHSTRASSE
March
7,
(formerly
SECESSION),
by Fritz Novotny.
INTERNAZIONALE BIENNALE DI VENEZIA, Venice, 1958,
Gustav Klimt. Catalogue introduction by Otto Benesch,
ST.
bis
Gemalde des
osterreiciiisches
Stuttgart, 1957.
Oslerreichische Landschaftsmalerei von Schindler bis Klimt, Graz,
1957.
204.
etienne,
New
n. p.
Graz, June 22
18626. Februnr
n. p.
the
n. p.
21)1
DEUTSCHE nationalgalerie,
XXIX.
pp.
1938.
der Secession.
bis
Von Schindler
Vienna, February
on 1897
galerie
etienne,
klimt
Klimt Nachlafi.
AUSSTELLUNGHAUS
ST.
kunsthandlung
New
galerie
1903,
wiener secession, Vienna, November December,
XVIII. Ausstellung, Gustav Klimt. Catalogue introduction
],
n. p.
55.
Cassou, Giulio Carlo Argan, Nicolaus Pevsner, pp. 15
14
April
1961,
March
York,
8,
New
etienne,
st.
galerie
du
ingticme Siecle.
XX.
Moderniho Umeni.
dum umeni mesta brno, Brno, 1963, Rakouske Umeni,
Icti.
Sloleti
XX.
Sto-
55
pp. 7-17.
um
August
by the
city of
Vienna;
galerie
ST.
mi s
6, no. 22,
383.
XX,
221-224.
kuzmany*, KARL M. "Die 'Kunstschau', Wien, 1909", Kunst
Alle, Munich, vol. 25, October, 1909, pp. 20-22.
pp.
inonn
etienne,
New
York, October 17
November
14,
An
Novem-
Lincoln F. Johnson,
Jr.,
Rosenthal, pp. 11
Gertrude
in
Rom,
XXII,
Kiinste,
STORK, willy
fiir
30.
in
1913, p. 481.
October 1913
-March
XXXIII,
1914, p. 11.
HOOKS
April
September, 1916,
p. 57
ff.
hevesi,
1909.
STEINMETZ,
honigschmid,
vol.
3:
Osterreichische Kunst,
Vienna, 1923.
tietze, HANS. "Klimt, Gustav", U. Thicmc-F. Becker, Allgemeines
XX,
Leipzig, Verlag
von
benno fleischmann,
Prague, 1934.
Salzkaininergutlandschaften",
osterreichischen
reichische
Institute
Heimatbldtter,
Landesmuseum,
fiir
Oberoster-
Landeskunde, Ober-
December, 1951.
"Painting and Sculpture Acquisitions", The Museum of Modern
ArlBulletin, The Museum of Modern Art, New York, vol. XXV,
January
no. 4,
p. 189.
osterreichisches
Seemann, 1927.
p. 178.
L.
GEIST, SIDNEY.
1,
1957
"Month
in
December
31,
Review", Arts,
1957, p. 22,
New
York,
p. 5.
ill.
vol.
32,
25-31.
New York".
Burlington
September
1960.
vol. 6,
German
p.
SELZ,
articles
New
KOLLER,
10(1.
Inc., 1962.
ration).
If.
1962, p. 22
Art, 1959.
392
(in
prepa-
690,
ff., ill.
ERNST.
Palais
3.
"Apotheosc
der
Shine:
Gustav
Klimt zum
7.
no. 67,
September 1962
March-
48-49.
urn
SC1IIELE
59
IMi
1890
Born June 12
at Tulln
18961900
1901
1902
1902
1902
1906
Graded "unsatisfactory"
at Klosterneuburg.
and
gymnastics.
1905
One
Ludwig K. Strauch.
recognized the boy's remarkable gifts and gave him encouragement and private
instruction.
1905
An
North
1906
Against violent opposition from his uncle, Schiele was accepted at the Vienna
family
moved
to Vienna.
of Feuerbach. Schiele criticized Griepenkerl openly and the opposing views and
1907
From 1908
1908
Schiele's
of local artists.
Worked
off'
and on
crafts in Vienna.
for the
Wiener
W erkstatte.
60
1909
At Klimt 's invitation exhibited four paintings in the \ ieima international Kunstschau
where works of Kokoschka and Van Gogh were also represented.
In April Schiele with a group of like-minded voung artists withdrew from the
its first
work admired by the collector Heinrich Benesch and the newspaper art
Arthur Roessler, who befriended and encouraged him.
Set up his first studio. Painted two important self-portrait oils.
Lived solitary life in extreme poverty. Drew and painted many portraits and
Schiele's
critic,
1910
self portraits.
Discarded the stylistic devices of Klimt's Art Nouveau style and achieved
an independent and original idiom of his own.
Began the Self-Seer series, the result of an obsession with his own mirror
image.
1911
Moved
started a series of
for
town
scenes, but
Krumau,
was forced
his
"pornographic" drawings.
Vally (Valerie Neuzil), a model introduced to him by Klimt, visited him often and
became
his mistress.
Participated in group
Neukunstgruppe
1912
W ien
in Budapest.
13th,
Schiele
In
November he moved
until 1918.
Painted
1913
Exhibited
shows abroad.
Contributed to the magazine Die
iktimi in Berlin.
61
1914
modern
1915
basic training.
Exhibited in Zurich and Vienna. His painter friend Paris von Giitersloh published
1916
Man
(his
its
He had more
began at
in Vienna.
Army Museum.
least sixteen
major
oils
that year.
Despite growing reputation his poverty and debts continued and, at Ediths urging.
he produced
many drawings
for
quick
sale.
his
death bed.
one-man show at the March exhibition of the Vienna Secession an overwhelming success; he was acclaimed by the press and his works bought for private
Schiele's
collections.
Commissions poured
in;
Moved
Commenced
linear
monumental
approach
and home
at
Wattmanngasse
6.
Edith became
first child.
portrait series
in favor of a
new
which reveals a
painterly modeling.
is
put to bed with influenza and died during the night of October 31st.
63
egoi siiiiele
- n\mm
JAMES
Egon
literature concerning
DEMETRION
T.
the artist produced during his very brief period of creativity was quite small whereas the graphic
fifty
of
lists
first
birthday. Although some paintings have been re-discovered during the thirty-five years since
Even
still
is
a tendency to think of
them
as colored
is
i.e.,
the free flow of paint and brush as contrasted to one whose compositions are marked by a bold
then
linearitv,
with
the
artists
is
as
generally valid.
But
a painter. 2
Bv and
large, the
provided him a meager source of income or they were sketches and studies which yielded him
a storehouse of forms to be incorporated later into paintings. The stvlistic development of his
paintings parallels that of his drawings. However, during the last few years of his
in his paintings tend
Ferdinand Hodler
whom
to that of his
life,
the forms
monumental
effect
between the
his
drawings
artist's
realm of subject matter rather than stvle that the greatest difference
graphic works and his paintings.
Some
lies
On
houses and eityseapes comprise a relatively greater part of his painting activity. The intimate
medium
canvas
is
is
works discussed
of painting in 1910.
will
portraits,
which
major categories
will
trees
and landscapes,
be briefly examined.
own
personal style
64
series of
most
single
significant period in
a year later.
the form of a petition against the academic system in general and against the arch-conservative
painting instructor Professor Christian Griepenkerl in particular (for example, point two was:
"Ts Nature only that which the Herr Professor recognizes as such?") 3 ,
On June
17.
had
name appears
philosophy was set forth in the document which organized the Neukunstgruppe (the
to have been selected later), one can
1909. the
whom
most of
artists,
his fellow
Schiele
class.
and
Schiele
assume that
ideals
its
1909, a
show
Viennese
in
artists
by Van Gogh.
first
Munch and
Works by
made
Many
the paintings
a
tremendous
rarely been
exhibited in Vienna and their liberating effect swept through the ateliers of the younger artists
in the city.
By
Of the four
its
means of expression.
individual
is
found
in proportionally
equal numbers in both painting and drawing. Portraits appear in Schiele's work throughout his
life
of 1918.
One
of the
Kosmack, painted
first
portraits
in 1910. It
by Schiele
marks
after the
a distinct departure
Kosmack
is
and fellow
Eduard
artist
is
The body
is
rigid
and
1894
The white of
tense.
the shirt collar, the lapels, emphasized by being darker than the rest of the suit, and the large \
between
his thighs.
The eyes
sitter
is
There
is
hands clasped
in his
is
made up
of compartments defined
by heavy
a fairly active paint surface within each area even though the over-all effect
dominated by the symmetrical silhouette which tends to mitigate the internal movement.
man who
feels,
only temporarily
The
Portrait of Paris von Giitersloh, painted eight years later, again depicts a sitter frontally
As
is
von
volume which
is
supported by a few
is
lines
is
somewhat
now
relaxed.
the background
a chair.
One
of the most
65
employed
Zakovsek and Seated Model with Raised Arms, was to omit the chair or other means of support
for his figures. Consequentlv. poses
which are quite normal when seen in the context of such supports,
To
is
his
of trees (during his student days he had painted numerous conventional landscapes in which
short, impressionistic brushstrokes
find
after
human
and know
memory,
artist
and
flowers.
One
is
am
The
trees
Winter Trees or
often, as in
movement
is
and most
make
Now
saplings
"...
in
human
an upright
stick
not long exist without assistance. The three gesturing trees of Autumn Trees have limbs and branches
One
hill.
finds
is
its
it
on Golgotha. In a painting of the following year, Mt. Calvary (Nirenstein 121 -- not in the
exhibition), Schiele portrays the Three Crosses (that of Christ rising higher than the others) against
a horizon.
bows
trees as pilgrims
To
interpret
there
all
is
and things
entwined
had
"...
paintings.
and
in the
of
life
in
letters
and
Christ.
The
The
identification of the
paintings themselves
in the
to
a predilection for
autumn;
love
autumn
as
is
demonstrated by the
in Schiele's cities
title
The
Schiele placed an
of the town.
X on
man
soft
old walls,
this earth". 4
fills
This
mood
is
there
any form
vacuum
cities
museum.
A postcard sent
of his
exist in a
was the
many
Dcuil City
titles of
towns seem to
file
anthropomorphicalh
Schiele
in single
sufficient evidence
is
moves
visited.
66
appears frequently. The panoramic bird's-eye view which one associates with Kokoschkas famous
however, to Schiele
blocks of a town. The rigid linearity of his canvases does not induce speculation as to what
few
lies
On
Such
a painting as
was constructed
in a
manner
artist
of the geometrically simplified forms of buildings and hillside, but the volumetric block-like aspect
of
Cubism
art critics,
is
it is
was
may
have been a
and the
carried
lines
further in
Schiele's dealer in
been in stock
is,
artists. 6
at the Galerie
works
is
Dead Mother
I.
1912 where he
there.
in
not in
for Schiele to
Munich
had exhibited
evident that there was some confusion about the meaning of the word. Presumably
the exhibition)
One
life,
Painted just prior to Christmas, 1910, the theme appears to have been
Max
The Family of the same vear. However, the feelings evoked by the two paintings are totally different.
sense of relative calm pervades Klimt's painting of a mother and her two children sleeping.
smaller format, has focused on the face and hands of the infant and
Schiele, in a
much
mother. The
initial effect is
flesh,
of
life
doom and
bony
is
may
Dead Mother II
Dead Mother
is
not
its
life
is
I only the
womb
mother's body.
is
the subject
of the painting,
right
lines of
dead
one of horror. The dull greens and browns of the mother's decaying
create a sense of
its
its
her mission
cycle of existence.
Though
fulfilled
artist's
personal problems
67
of his
life
Schiele
for a
all
to the painter
have
to
Earthly Existence
Life, Religion,
Schiele's
monumental
The paintings Three Standing Female Nudes and Two Crouching Women
are
fresco
probabK
such studies. There are pencil sketches which relate to these paintings; however, the sketches
often contain additional figures and the iconographv appears to be more complex than
works
later
suggested
for the
is
artist
from
is
a statement
made by
me and admire my
art". 8
has already come true insofar as his drawings and watercolors are concerned.
my
That prediction
It is to
be hoped
that exhibitions such as the present one will bring greater recognition to and admiration for the painter
Egon
Schiele.
NOTES
to
for
to the public.
1.
Wolfgang Fischer, "Egon Schiele and the Spirit of Vienna before 1918,"
Marlborough Fine Art Limited, London: 1964, p. 6.
2.
3.
see
5.
Roessler, Erinnerungen
6.
Egon
7.
.,
Schiele,
2nd
ed.,
p. 65.
und Prosa von Egon Schiele, ed. by Arthur Roessler. Vienna, Richard Lanyi, 1921, letter
to Dr. Oskar Reichel, dated 17 August 1912, p. 147.
The artist Margaret Macdonald Mackintosh, wife of the renowned architect, had painted a gesso relief in 1902
titled Motherhood (Glasgow School of Art). A womb-like form enclosing a nude baby is centered in the billowing
skirt of one of the women in the painting; there is no question that a womb is being depicted. The artist had
exhibited three works in the Kunstschau 1909 (the catalogue elaborates no further). The Mackintoshes had been
very popular and much admired in Vienna since the turn of the century. During a six-week stay in the city,
they had designed a salon for the residence of Fritz Warndorfer, one of the leaders of the Wiener Werkstatte,
Vienna's contribution to art nouveau fashion and design. (Ludwig Hevesi, Altkunst Neukunst Wien 1894 1908,
Schiele, Briefe
Vienna, Carl Konegen, 1909, pp. 221 ff.) Whether Schiele could have seen Motherhood is questionable; however,
he could have been familiar with other works by the artist in which like motifs were used.
8.
Schiele (1890
1918),"
Das Kunsluerk, V,
PAIXTMiS
l\
THE EXHIBIT
69
22
CATALOGUE
Entries in this catalogue are chronological.
References to
SELF PORTRAIT.
Oil
1907.
Nol -igiied
ni
dated.
Neue
Galerie, Vienna.
Exhibitions:
1.
nirenstein,
1948.
16.
o.
Egon
no. 7.
Literature:
Schiele, Berlin,
Vienna,
NIRENSTEIN,
STUDY OF A NUDE.
on canvas, 9J X
Signed and dated 1.
on reverse.
Oil
Collection Mr.
7
I.
"
1908.
(24.4
"Schiele,
4.
18 cm.).
Egon
Oil
benesch,
Studio
ill.
1909.
u.
r.
"E.
S.
1909".
Stralem,
New
O.
"Egon
International,
p. 175.
Schiele
2:
York.
The
1.
no. 2.
Artist",
London. October
1964.
\\
Gurlitt. Berlin.
Exhibitions:
Neue
Wien
Literature:
NIRENSTEIN,
no.
r>2.
72
73
SELF PORTRAIT
Oil
I.
7.
1909.
Exhibitions:
Neue
J.
Wimmer, Vienna.
o.,
1910.
1964,
7.
no. 4.
Literature:
I.
Provenance: Arch. E.
DEAD MOTHER
Oil
no. 48.
no. 8.
Literature:
roessler,
a. Kritische
p. 58.
karpfen,
F.
NIRENSTEIN,
grohmann, w.
SELF PORTRAIT
II.
roessler,
1909.
Oil
sciimidt, G.
1956,
nirenstein,
o.,
no. 55.
1936, p. 59.
ill.
Neue Malcrei
in Osterreich,
Vienna.
pi. 65.
BREICHA,
98.
XXX,
A.
Vienna, 1948,
cm.).
Egon", U. Thieme-
"Sehiele,
Aufiakt,
p. 206.
o.
and FR1TSCH.
G.
cds.
Finale and
Salzburg. 1964.
ill.
74
1910.
c.
1.
"S. 10".
no. 23.
no. 13.
Neue
Literature:
Darmstadt, 1963.
gutersloh, p. von. Egon
IMIRENSTEIN,
mitsch,
ill.
E.
O.,
Schiele,
Vienna, 1915.
no. 70.
Egon
p. 27.
breicha,
Auftakt,
p. 205.
1910.
E.
& A.
no.
14
Silberman Galleries,
Institute of
8.
New
York, 1959,
no. 11.
Metropolitan
Museum
of Art,
no. 84.
Literature:
hi
MRENSTEIN",
O.,
no. 68.
New
York. 1962,
75
11
10.
RED EARTH.
1910.
11.
Provenance
M. Goldschmidt and
Institute of
8.
GUTERsloii,
NIRENSTEIN,
p.
cm.).
3.
no. 9.
Literature:
1910.
Literature:
nirenstein,
7.
76
14
12
12.
THE DEAD
CITY. 1910.
Tempera on paper, 16^x12^"
Signed and dated 1. r. "Schiele
14.
(41.2
30.8 cm.).
10".
DEAD CITY
I.
1911.
Institute of
no. 12.
Literature:
gutersloh.
p.
R[oessler], A.
"Egon
vol. 3, 1911,
ill.
karpfen,
F.
Exhibitions:
no. 237.
no. 20.
NIRENSTEIN,
no. 63.
no. 12.
Literature:
R[oessler], A.
"Egon
karpfen.
F.
isirenstein,
o.,
no. 94.
77
13.
AUTUMN TREES.
Oil
1911.
1.
r.
"Egon
Schiele 1911".
191213.
4.
nirensteiin,
o.
78
16
15
15.
1911.
16.
STILL LIFE
WITH CIGARETTES
Oil
Literature:
no. 13.
7.
nirenstein,
zemina,
J.
hunderts
O.,
no. 87.
der
Kunst, Vienna,
CSSR",
March
Alte
I.
1911.
Oil
und Moderne
nirenstein,
79
19
17
17.
SUNFLOWERS
I.
1911.
19.
THE PROPHET.
1911.
Oil
Lent by Marlborough
Oil
on canvas,
Dr.
Grunbaum, Vienna.
19^"
1.
(1
10.3
50.3 cm.).
"S. 11".
Gerson Gallery,
New
den
New
York.
Rotterdam,
no. 18.
Art
The University
University
Neue
nirenstein,
Literature:
"Sehiele,
Egon", U. Thieme-
werner,
Arts,
New
A.
gutersloh,
NIRENSTEIN,
grohmann, w.
"Rediscovering
York.
1924.
Literature:
u.
43-J.X
Austrian
p. 57.
ill.
Art",
CHH>i>,
ii.
p.
Gallery.
of
"A
Viennese 19101924",
ment
San Francisco, 1963, p. 25.
Arlforum.
8(1
18
18.
THE POET.
1911.
5.
Literature:
gutehsi.oh,
NIRENSTEIN,
p.
81
20
20.
THE SELF-SEER
II
1911.
Provenance:
Max
Hevesi, Vienna.
8.
no. 17.
Hans der
Museum, Amsterdam,
Marlborough
Fine
Art Ltd.,
London,
1964,
no. 10.
Literature:
nirenstein,
"Egon
New
York, April
1918, p. 51.
SELZ, P.
German
82
21.
AUTUMN
SUN.
TREE
1912.
AUTUMN BREEZE.
IN
(Illustration
Oil
Oil
Collection Dr.
1912.
page 69.)
"Egon
Schiele 1912".
Grasmeyer. Salzburg.
Exhibitions:
1917.
11.
no. 14.
St.
Institute of
Etienne,
New
New
nirenstein,
Literature:
York, 1941.
SCHMIDT,
1956,
3.
G.
Neue Malerei
in Osterreieh.
Vienna,
pi. 67.
no. 26.
Literature:
nirenstein,
SELZ,
P.
pi. 57.
THE BOAT.
Oil
c.
1912.
Not signed
or dated.
New
4.
83
23
23.
1912.
17.
Literature:
nirenstein,
o.,
no. 107.
1964,
84
24
24.
MOTHER AND
Oil
CHILD.
1912.
c. r.
"Egon
Schiele 1912".
26.
THE HERMITS.
Oil
1. I.
"Egon
Schiele 1912".
Neue
no. 15.
o.,
18.
Vienna.
Literature:
artist.
Galerie, Vienna.
no. 111.
no. 17.
Literature:
karpfen.
f.
1921.pl. 10.
NIRENSTEIN.
SCHMIDT,
G.
Neue Malerei
in Osterreich,
Vienna,
85
28
27.
WINTER TREES.
SAW
1912.
u.
1.
"Egon
X 80
Oil
cm.).
MILL.
1913.
on canvas, 31 + X 35|"
Schiele 1912".
1.
r.
(80.1
"Egon
89.8 cm.).
Schiele 1913".
F. A. Horta, Vienna.
Neue
The
Hague,
no. 36.
Museum, Amsterdam,
MRENSTEIN, O., no. 119.
Stedelijk
Literature:
den
Rotterdam.
19.
3.
den
Galerie, Vienna.
Rotterdam.
New
New
York, 1941.
York, 1948, no.
Literature:
nirenstein,
0.,
no. 133.
I.
1964.
86
29
30
29.
SETTING SUN.
1913.
30.
SMALL TOWN
III.
Oil
Oil
nirenstein,
2.
Exhibitions:
Wien
um
9.
River.) 1913.
no. 21.
Literature:
nirenstein,
o..
no.
XXVIII.
1964.
87
33
31
31.
1913.
Encaustic on canvas,
1.
33.
II.
1913.
cm.).
Oil
15, no.
16.
1917.
Stedelijk
Museum, Amsterdam,
1917.
1964,
no. 19.
Literature:
nirenstein,
o.,
den
no. 125.
Rotterdam,
New
O.,
no. 126.
"Osterreichische
p. 7.
32
32.
THE BRIDGE.
1913.
Literature:
Deutsche
Diisseldorf,
1913.
5.
Rotterdam,
St.
Institute of
Etienne,
New
New
York, 1941.
no. 30.
special
volume, "Osterreichische
p. 6.
nordland,
den
endingen,
selz, P.
Kunstausstellung,
Neue
IT
New
G.
"Europe
in
p. 17.
California",
Arts,
89
34
34.
BLIND MOTHER
I.
1911,
Encaustic on canvas,
1.
cm.).
Neue
Galerie, Vienna.
1.
8.
Museum, Amsterdam.
Literature:
ill.
p. 35.
NIRENSTEIN,
O.,
no. 139.
London.
1964.
90
::;:.
91
36
35.
1914.
36.
THE
CITY.
1914.
New
6.
no. 23.
no. 40.
Literature:
nirenstein,
o., no.
XXXIII.
Literature:
nirenstein,
O.,
no. 144.
1964.
92
37
37.
YELLOW
CITY. 1914.
on canvas, 42x55" (HOx 140 cm.).
Signed and dated 1. 1. "Egon Schiele 1914".
38.
Collection Mr.
New
York.
Collection
Neue
no. 211.
den
nirenstein,
WERNER,
sionism",
p. 49,
ill.
Galerie, Vienna.
1915.
Oil
A.
o., no.
XXXVI.
"Schiele
Arts,
New
October
1960,
no. 48.
Literature:
127-28
NIRENSTEIN,
ROESSLER,
A.
Vienna, 1918,
BEEREN, w.
ill.
p. 87.
O. no. 151.
A. L. Beeldi'erhall,
de
93
38
94
-**-,***,
39
39.
SINGLE HOUSES.
1915.
den
Literature:
karpfen,
1921,
II
pi. 26.
endingen,
special
volume,
"Osterreichische
p. 9.
95
-10
40.
(J.
HARMS).
1916.
Literature:
roessler,
p. 66,
f.
a. Kritische
n.
karpfen,
F.
faistaiier,
Vienna, 1923,
a.
ill.
Malerei
iVeite
in
Osterreich,
5.
inirenstein,
Neue
"Egon Schiele", Art News. New \ork. December 1-14. 1911, p. 33.
"Egon Schiele", Art News, New York. Novem-
New
New
ber 1960, p.
York, 1941.
York. 1918, no.
8.
no. 52.
New
13.
12.
96
41
41.
THE
MILL.
1916.
Encaustic on canvas,
c.
1.
Collection Niederosterreichisehes
Landesmuseum, Vienna.
Literature:
nirenstein,
o.,
cm.).
no. 154.
97
42
42.
SQUATTING WOMEN.
c.
by the
(Left incomplete
artist.)
1917.
Oil
Not signed
or dated.
artist,
Vienna.
M. Goldschmidt and
Fine
Art
no. 76.
Ltd.,
London.
1964,
no. 26.
Literature:
karpfen,
f.
Gegenwartskunst: vol.
NIRENSTEIN,
16.
3, Osterreichi-
98
43
43.
1.
1917.
Encaustic on canvas,
Literature:
cm.).
gerstenberg,
k.
Zeit", Deutsche
NIRENSTEIN,
roessler,
WERNER,
A.
sionism",
Institute of
A.
Vienna, 1948.
Neue
O.,
ill.
March
1918, p. 115.
no. 159.
Erinnerungen an Egon
Schiele.
ill.
"Schiele
Arts,
New
York,
October
1960,
p. 50.
CHIPP, H. B.
"A
1924",
Artforum.
no. 57.
ment
1964,
New
Viennese
1910
SUTTON,
D.
Sparrow",
p. 299.
p. 17.
London,
the
October
City
1964,
99
44
44.
1917.
Jenny
Literature:
nirenstein,
ROESSLER,
Vienna, 1918.
READ, H.
Neue
New
A.
York, 1959,
ill.
p. 30.
100
45
45.
RECLINING
WOMAN
II.
1917.
W olff.
Vienna.
Galerie
W iirthle,
Ausstellung.
Internationale
3.
Dresden,
1926.
no. 261.
1964.
no. 24.
Literature:
karpfen",
1921,
F.
pi. 18.
MRENSTEIN.
ROESSLER,
O..
A.
Vienna, 1948.
sutton,
D.
Sparrow".
p. 299.
no. 167.
Erinnerungen an Egon
Schiele,
ill.
Apollo.
101
46.
1917.
1.
c.
"Egon
Schiele 1917"".
Neue
8.
3.
Literature:
karpfen,
f.
NIRENSTEIN,
3.
Dos Egon-Schiele-Buch,
O., HO. 160.
^ ienna,
102
17.
THE FAMILY,
c.
1917.
Encaustic on canvas,
59x63"
(150
x 160
cm.).
Literature:
FAISTAUER,
New
NIRENSTEIN,
York.
hokssi.kr.
buenemann,
p. 71.
Neue
Osterreichische
Galerie,
werner,
I.
Vienna,
1951
52,
no. 121.
Secession.
a.
ienna, 1950.
in
Osterreich,
Iiiiiniiiinwn
an
Egon
Schiele,
ill.
H.
Von Menzel
"Schiele
sionism", Arts,
19.
Malerei
pi. 9.
\.
Vienna, 1948.
no. 79.
Neue
A.
Vienna. 1923.
New
and
bis Hodler,
Austrian
1960,
Expres-
p. 51.
103
Y^-SHI
48
48.
1918.
no. 71.
karpfen.
f.
MKF.NSTKIN.
52.
no. 175.
104
50.
1918.
Collection
Minneapolis
of
Institute
Minneapolis,
Arts,
Minnesota, 1954.
New
\ork.
'
-
|-
'Jafc
*"mm''
in
den
Niederlanden,
Women's
\\
Etienne,
St.
New
New
York, 1941.
York, 1948, no.
9.
Institute of
no. 66.
Literature:
49
karpfen.
f.
Wendigen,
special
volume,
NIRENSTEIN,
New
York, April
p. 51.
ill.
ROESSLER,
Erinnerungen an Egon
A.
Vienna, 1948,
Davis, R.
Two
"Osterreichische
p. 8.
s.
"The
ber 1955.
davis,
R. s.
Minneapolis Institute
(Unfinished.) 1918.
"The
Putnam
The
Minneapolis
Oil
1956, p. 93,
p. 90.
selz, P.
49.
Dana
McMillan
Institute
25,
The Minneapolis
CHIPP, H. B.
Exhibitions:
Neue
ment
Literature:
JSIRENSTEIN.
O.,
no. 179.
"A
Collection".
of Arts
Septem-
ill.
bv Egon Schiele
ill.
Schiele,
ill.
ill.
Bulletin.
p. 35.
Institute of Arts,
European
Francisco. 1963.
ill.
p. 24.
105
50
107
i;i.!)\
SCHIELE
The essence
of Schiele's art
ALESSANDRA COMINI
DRAWINGS
his magnificent
is
oil
prolific
span are several thousand temperas, watercolors and drawings. The pages of
like
his sketch-
breathing.
He drew
instinctively, continuously and under any condition. He worked with a ferocious speed that
by
of pose.
For Schiele,
stimuli.
The immediacy of
this line
is
most
pencil or watercolor
monumental
The
and outer
the
may
is
augmented by
formalizations. In
all
1914)
moves from an
initial
period
(19151918).
The
influence of
is
evident in Schiele's
and 1909. Works such as the Four Post Card Designs are highly reminiscent
all
into architectonic
W erkstatte
for
which the
post cards were designed. But one year later, at the age of twenty, Schiele suddenly discarded
this
line.
artistic style.
This
new
style
was
108
chasm
of fellow- painters.
The
first
own
first,
Hans Massmann,
conceived under Khmt's influence. The elegant contour of the seated figure
is
still
is
continued in the
decorative silhouette of the chair, and both forms join with the geometric forward-bringing division
of the background to create a pleasing and intricate
its
edges.
The personality
of the sitter
equated to
is
suggested
soft qualities
in
if
flat
not overwhelmed by
the
How
by the drawing.
Portrait of
figure that
hands
lie
different
is
awav
its
star contour.
down
as
though a
set
The
where they have fallen, the body droops, and the dark face broods. There
and
or background. Clothes
chill
a slouching, inelegant
has
the paper to
fills
knotted
no setting
is
and face produces a heightened sense of physical presence and contributes to an emotional intensity
which
completely absent in the polished portrait of Hans Massmann. Schiele's selective line
is
Nouveau
This "demasking" approach, which probed and exposed subject matter, whether flower,
house, or living creature, was applied by Schiele to himself as well.
portraits stems from the years 1910
The
and 1911
and
is
in
An
exhaustive series of
circulated in Vienna
this as Schiele's
upon the
is
Color
is
in
modern
art.
figure.
boil.
artist.
introduced.
is
on a long hose-like neck. From the mouth comes one of the most terrifying shrieks
We
self-
used exclusively
is
to intensify
is
tinted
with reds and orange. The single tooth gleams a malicious white against the red tongue. Underneath
the wild black eyebrows white has been slapped over the flesh tone, creating a startling effect
of
movement. This
Nor
is
is
far
registered
of face and
motif of
is
is
upon
it.
to his
as the
He
is
angular and
its
first
brittle,
of
all
How
crisis.
this period
German Expressionists).
drawings with color added later and away from the model.
pantomimes
rather,
his inner states. Schiele does not hesitate to exploit the rich
is,
Working with
self.
physiognomy
in
is
In the spring of 1912 Schiele was arrested in the small village of Neulengbach. where he
109
for several
for
narrow basement
in a
and, at
cell
first,
of the charges against him, but also pencil and paper. "I painted, with roots ripped from the soil
of myself, as
spit,
cell." Schiele
was permitted
colors he
to
make
when
detail. Schiele
horizontal
his
cell
finally given
bis
first
my
band of the
a trembling finger
With
really insane.
initials
"M
door (which are visible there to this day). In this drawing Schiele indicated,
working
in very light lines, one of the little landscapes he painted with spit before receiving
materials. Six drawings later he could no longer bear to record the oppressive reality of his surroundings.
(The Door
into the
My
upon
a vision
of himself as an unjustly suffering prisoner, and in three consecutive days he drew four self-portraits.
7
if in
self-portrait
Crime,
For
It is
My
Murdering Life In
My
the
Bud
in the first
He
real,
Hindering
End. In the
to the
but to do so
he had
last
method of working
nature.
less
mood changed
self-portrait.
self-portraiture, Schiele's
line of
from
directly
oppressiveness of his surroundings. The perfection of detail, the vibrant sense of presence, and
the shimmering colors give triumphant proof of the dimension of Schiele's artistic powers during
the Neulengbacb confinement and reveal
bow he was
drawing.
For several years after the Neulengbach incident Schiele lived the
life
of a recluse, painting
landscapes and town scenes in which no people are present, and creating a sad procession of monks,
hermits and saints. This physical isolation and thematic asceticism are reflected in his draftsmanship.
A new
human
The Recumbent
this abstract
linear
energy.
Erotic
elements
little
areas are
approach led
figure
all
in 1914.
Cap of 1914
Although
still
is
an excellent
drawing from
commandeered
as
physical
characteristics
are
with dry strokes of the brush models the figure. The radical stylization of the face with
staring eyes introduces a generalized concept that gives Schiele's line a
new freedom
its
blank
to organize
surfaces.
army
paralleled
life
during 1915
his
marriage
to
drawings. As he sketched the faces of his fellow soldiers and the round, amiable figure of his wife,
Schiele's line once again
conveys a tender-
110
is
study of
Schiele's 1916
and mellowed.
own. The
contour
brittle
his father-in-law,
lines
which
line of
treatment applied to a male subject. The contorted gestures and grimaces of 1910 have been
abandoned
for a
new
emotions,
now
is
Three
naturalism: the aggressive penetration into the psyche of the earlier period
expressed.
self portraits,
all
monumental
painting The Family, reveal the final phases through which Schiele's draftsmanship was to pass.
The
first.
apart,
and
I,
The power of
his
1910
now permeates
line
humping neck
as
it
reflection
horizontals, arcs
and modeling.
new
all
direction
is
to
is
line
is
line,
still
spread wide
body
anatomical
in
characteristic of Schiele's
such as the shoulders and knee, introduces a body silhouette dominated by a sweeping contour
of
how
all
still
new
function. It
is
used
is
for
formal
feels,
a figure appears in a certain pose. Sehiele does not react to his subject but records
it.
but
The
need to express, so compelling in 1910, has shifted to the how of expression. The painterly approach
begun
The
plastic
colored dabs of green, red and yellow that fleck the skin. Hair on the legs and arms
by
not indicated
is
the individual decorative lines of the abstract style of 1914, but by thick strokes of the crayon
backed by a blur of
color.
Even
at the
its
risings rather
study for The Family, Self Portrait Squatting III marks the ultimate
to render the
body silhouette
simplified terms than the 1917 study: then the crayon has
last
been turned
This final shift toward a painterly approach in which line functions both to define and
to color coincides with Schiele's increasingly profound interpretations as a portrait painter.
monumental
in the
1918
Hand
Study
for
Hugo
and Child,
The
to expressive essentials
and determining
role
Ill
20
DR1WIMS U THE
1.
WOMAN
IN RED.
3.
c.
Museum
Collection Historisches
2.
SELF PORTRAIT.
Collection Eberhard
W.
SELF PORTRAIT,
c.
Collection Historisches
4.
EXHIBITION
17fxl2V'
(45.2
31.7 cm.).
Kornf'eld, Bern.
1909. Crayon,
Museum
16x8"
(40.5
20.2 cm.).
a.
5.
FLOWER GARDEN.
1910. Watercolor,
21^x151" (54x40
cm.).
6.
MALE NUDE.
7.
MOTHER AND
Collection Mr.
8.
9.
CHILD.
1910. Watercolor,
Neue
Galerie
(44
x 30.5
cm.).
Hamburg.
S.
17Jxl2"
1910. Watercolor,
Sabarsky,
20fx31J"
New
1910. Pencil,
1910. Pencil,
79.5 cm.).
x 26.8
cm.).
22^x14+" (56x37
cm.).
144x10+"
am Landesmuseum Joanneum,
PORTRAIT OF ROSENBAUM.
(52.8
York.
(37
Graz.
10.
17^x12^" (44x31
cm.).
11.
FRANZ WEIGANG.
c.
Museum
Collection Historisches
12.
Museum
14.
15.
SELF PORTRAIT.
19x124"
X14V"
Sammlung
(54.5
32.2 cm.).
37 cm.).
Sammlung
31.7 cm.).
36.4 cm.).
Albertina, Vienna.
Collection Graphische
(48.2
Nebehay, Vienna.
31.1 cm.).
13.
Albertina. Vienna.
113
16.
SUN FLOWERS.
17.
TWO NUDES.
Sammlung
29.3 en..).
Albertina, Vienna.
22xl4" (56x37.1
18.
Collection Graphische
cm.),
Vienna.
1911. Watercolor,
L9x 12f"
(48.2
x 32
cm.).
19.
CROUCHING WOMAN.
Collection S.
20.
Sammlung
Sammlung
MURDERING LIFE
TREE.
1912.
Pencil,
(48.2
Sammlung
Sammlung
FARM HOUSE.
Sammlung
19x12V"
watercolor.
(48.2
114xm"
Pencil, watercolor,
Collection
1913.
124x19"
(31.7
48.2 cm.).
ienna.
29.7 cm.).
Albertina, Vienna.
1912.
Pencil, watercolor,
19x121"
Albertina. Vienna.
12xl8f"
SELF PORTRAIT.
X 31.7
cm.).
PORTRAIT OF FRITZ
Collection S.
31.7 cm.).
31.8 cm.).
Albertina,
1913. Watercolor,
Albertina, Vienna.
30.
1912.
Albertina, Vienna.
"TWO OF MY HANDKERCHIEFS".
Collection Graphische
29.
THE BUD".
Albertina, Vienna.
Collection Graphische
28.
IN
Albertina, Vienna.
1912.
Sammlung
19x 124"
Collection Graphische
27.
IT IS
26.
Sammlung
25.
30.5 cm.).
cm.).
24.
44.5 cm.).
Collection Graphische
23.
(48
22.
19x12"
A CRIME,
IS
19x12" (48x30
Collection Graphische
21.
1912. Watercolor,
IIAl ER.
1914.
Pencil,
17{xl2" (43.8x30.5
cm.).
(48.2
31.7 cm.).
1912.
114
31.
RECLINING
Collection Graphische
32.
Nebehay,
12|x
33.
HAT.
19J/'
(32.5x 49 cm.).
Albertina, Vienna.
31.2 cm.).
Pencil.
19x124"
V ienna.
(47x31
cm.).
34.
Collection Graphische
35.
SELF PORTRAIT.
3d.
Sammlung
THE
EDITH, WIFE OF
X 45.8
cm.).
18xllf
(45.8
29.7 cm.).
Albertina, V ienna.
17x11" (43x28
1917. Watercolor.
cm.).
SELF PORTRAIT.
1917.
Pencil, watercolor.
Sammlung
Collection Graphische
39.
(29.7
38.
llfxlB"
Albertina, Vienna.
ARTIST.
Sammlung
Collection Graphische
37.
Albertina, Vienna.
Collection Graphische
1916.
18x114"
(45.8
29.1 cm.).
Albertina, Vienna.
1917. Watercolor, ll +
xl7f"
(28.5
x 44
cm.).
40.
c.
31.2 cm.).
41.
CROUCHING WOMAN.
Sammlung
Collection Graphische
42.
MOTHER AND
1918. Crayon.
CHILD.
17|xll|"
29.5 cm.).
Albertina, Vienna.
Charcoal.
I'll!',.
(45
18xllf"
(46.5
30 cm.).
43.
PITCHERS.
18x111"
X 29.7 cm.).
(45.8
44.
45.
SELF PORTRAIT.
HOUSES.
Pencil,
47.
Sammlung
Iljxl84"
Sammlung
(30.1
Collection
Neue
Pencil.
Galerie
47.1 cm.).
cm.).
SEATED WOMAN.
(47.2
Albertina, Vienna.
48.
184x12"
Albertina, Vienna.
7jxl24" (19.6x31.6
Collection Graphische
1918. Crayon.
1918. Crayon.
Collection Graphische
46.
Museum
VV
21^x144" (55.7x37
cm.).
am Landesmuseum Joanneum,
Graz.
30.1 cm.).
10
13
19
116
23
22
33
38
40
44
118
4.1101
DII{TME.\T:1TI0.\
refer to specific
f:\iiiiiitio\s
kunstsalon
of rvivi im.s
of the catalogue.
The reference
documentation up to 1930
is
Vienna.
Leipzig.
and
date
has graciously
is
now
1930
by
Otto
up
with
assisted
additional docu-
Kollektivausstellung.
mentation.
1927,
Das Werden
eines Kunstuerks.
OSE MAX
\llllll
KINS OF PAINTINGS
academy OF FINE
wiener secession. Vienna, March
1918,
XLIX.
Secession
IT
ten,
Schiele room.
1923,
Egon
Schiele,
hagenbund. Vienna,
1928, Geddchtnisausstellung
zum
15.
Todes-
10.
tag.
galerie
ST.
etienne,
New
st.
Schiele.
etienne,
New
York, April 5
May
1,
1948,
Egon
Egon
Ausstellung
Schiele.
October
1960
December
galerie
st.
etienne,
15. 1960: J. B.
6.
1956,
7,
33
Novem15
speed museum,
5 16.
\^
erner
Louisville, Janu-
19
Hofmann,
n. p.
104.
35.
Lniverselle
el
Internationale
de
by Em. Langui.
Catalogue introduction by
IV.
Simon.
stedelijk museum, Amsterdam, December 1956; van abbe
museum, Eindhoven, January' 1957. Kunst uit Oostenrijk.
1950.
galerie
E.
and
A.
21,
galerie
ST.
Schiele,
etienne.
1961, Klimt,
Kokoschka. Kubin.
119
PERIODICAL*
May
14
Wichmann,
duction by Siegfried
Wien
um
painting,
pp.
19.
August
by the
city
of
GALERIE
etienne,
ST.
New
York, October 17
November
14,
Novem-
Kiinstler,
p.
104
vol.
1911,
3,
ff.
An
Bildende
Schiele",
organized
graphics,
"Egon
a[rthur].
r[oessler].
Peyre, Lincoln F.
Johnson,
Jr.,
New
11-30.
"Egon
York,
XI, no.
vol.
16,
December
14,
1941, p. 33.
Art News, New York, vol. XLVII, no. 2, April 1948, p. 51.
ankwicz von kleehoven, hans. "Egon Schiele", Das Kunstwerk,
Baden-Baden, no. 3, 1951, pp. 22-29.
davis, RICHARD s. "The Institute Receives Gifts of Two Expressio-
The Minneapolis
nist Paintings",
XLIV,
davis, RICHARD
HOOK*
s.
9,
1,
1956, p. 93.
gutersloh, Paris von Egon Schiele, Vienna, Verlag Briider Rosenbaum, 1915.
roessler, Arthur. Kritische Fragmente, Aufsdtze iiber Osterreichische Neukiinstler, Vienna, Richard Lanyi, 1918.
karpfen, FRITZ. Dos Egon-Schiele-Buch, Vienna, Wiener Graphivol.
Osterreichische Kunst,
3,
Kallir].
Egon
Schiele, Personlichkeit
"Schiele,
is
XXX,
Allge-
Leipzig,
p. 59.
Schiele,
Vienna, Wiener
an expansion of an
earlier
in
Osterreich,
Vienna, Verlag
Rosenbaum, 1956.
German Expressionist Painting, Berkeley and Los
SELZ, peter.
READ, Herbert.
New
York,
i.
New
"Egon
York,
Arts,
Art News,
New
York,
November
Collection",
The
1960, p. 12.
Minneapolis
December
24-25.
bis
CHIPP,
grohmann, WILL.
York,
und Werk,
New
Briider
of Arts Bulletin,
Institute
September 1955.
"Portrait of Paris von Gutersloh by Egon
Hodler,
(Die
Blauen
T., 1960.
herschel
"A
B.
vol. 1, no. 9,
22-27.
CSSR",
20.
Jahrhunderts
der
Alte
Arts,
New
York,
60.
THE SOLOMON
R.
GUGGENHEIM MUSEUM
STAFF
Thomas M. Messer
Director
Curator
Lawrence Alloway
Associate Curator
Assistant Curator
Daniel Robbins
Research Fellows
Librarian
Mary Joan
Public Affairs
Everett Ellin
Hall
Membership
Carol Tormey
Registrar
Kathleen
Conservation
Photography
Robert E. Mates
Custodian
Jean Xceron
Business Administrator
Administrative Assistant
Office
Manager
IF.
Viola H. Gleason
Agnes R. Connolly
M. Funghini
Purchasing Agent
Elizabeth
Sales Supervisor
Joseph D.
Ihi ilding
Superintendent
Head Guard
Thompson
Griffin, Jr.
Peter G. Loggia
Fred C. Mahnken
PHOTOGRAPHIC CREDITS
New
Robert E. Mates,
Francis G. Mayer,
0. E. Nelson,
New
New
York:
no. 2;
9, 19; Schiele,
2. 14,
15
Schiele. no. 35
IhtIi.hiI
I'meger.
Hamburg:
1.
10
New
2, 3, 13, 22,
Schiele nos.
The Minneapolis
The Museum
Narodni
of
New York:
34
Modern
Art,
New
25, 33, 40
Schiele, no. 19
The following
24;
New
47
no. 5
New
3; Schiele, no. 32
(detail)
Schiele, no. 13
no. 6
Exhibition 65/1
February 1965
THE SOLOMON
R.