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Egon Schiele/ Hans Holbein the Younger
1. Schiele, born on 12 June 1890, was from a middle class family, the third
child of Adolf Eugen Schiele and his wife Marie.The first artist to come
from the long line of railway officers, ministers and doctors. Schiele is one of
the major figures of Austrian expressionism. Having showed a extraordinary
drawing talent and a strong dislike for academia . At 16 Scheile entered the
Vienna Academy of Fine Art. Impatient of the conservative regime, he soon
joined the Vienna secession ( a modernist art group from the late 19th
century), encouraged by Gustav Klimt. In 1908 he held his first exhibition,
and in 1909 set up a studio. Drawing and painting Viennese slum children
and prostitutes, he developed a style of highly erotic and ugliness related to
his fascination with Freudian psychology. In 1911 his drawings were seized
and he spent some weeks in prison, convicted of pornography and
corruption.The experience was traumatic. However his popularity with the
Viennese avant-garde movement was unaffected: in 1916 the Expressionist
periodical “Die Aktion" published an ‘Egon Schiele’ issue. His reputation
was officially recognised in 1917, when he was released from army duties
and provided with painting materials.
2. From 1907, Gustav Klimt generously supported
the young talent of Schiele from the beginning of his
career and for the rest of his life. They would often
exchange drawings and model for each other. Under
Klimt’s influence, Scheile put his impersonal academic
style behind him. From then on a lot of his work pays
homage to Klims ornamental, abstract style. Schiele was
always envious of Klimts drawing ability and strived to
recreate his observational qualities in his own work
It is very easy to
see Klimt’s
influence on
Schiele’s early
work. Having
branched out
from his earlier
academic style,
Schiele was
drawn to Klimt's
heavily stylized
approach. Such
as the distorted
elongated
shapes of
women, and use
of textile in his
pieces.
3. As well as Schiele Oskar Kokoschka was one of the major
figures in Austria Expressionism. They both concentrated on
portraiture and the nude, using sexually or psychologically charged
body language to challenge the facade of conformity that
dominated Viennese culture. For the Austrian Expressionists it was
drawing—Schiele's taut lines and Kokoschka’s nervous draftsman
ship—rather than printmaking that helped them develop their highly
personal and emotional styles.
4.
5. Seated Female Nude with Raised
Right Arm, 1910, water colour and
black crayon.!
• During the 1910’s Schiele wandered
away from the academic style of art he
had been rejecting for so many years !
• observation detail however also with
hints of distortion and surrealism. such
as in the arms, emphasises the stretch
and poise of the subject!
• The emptiness of the background
subordinates the subject bouncing her
out of the page. !
• Schiele uses subtle washes of water
colour to infer warmth and life to the
model. The slightly surreal colour
pallet such as the greens, pinks and
blues compliment the unnatural pose
of the subject. The dilute use of the
paint infers the soft delicate texture of
skin.!
• often use his sister Gerti Schiele as his
model, subsequently this caused some
of the scandal and controversy
concerning his work !
• He would always paint his sister in this
distorted, angular style, much like how
he would study himself in his self
portraits.
6. 6
Edith Schiele 1915!
!
• colour is less energetic,
more subdues greys and
greens.!
• schiele pays a lot of
attention to the hands,
coneys her emotion !
• slumped over figure!
• The stripy dress is chaotic
and slightly
overwhelming, different to
previous quite simplistic
composition !
• Less concerned with
angles and edges, more
emphasis on curves and
round shapes. !
• Simplicity of line is still an
important feature. There
is a sense of every line
being carefully
considered and draw with
purpose.
7. Hans Holbein the Younger, born in Ausburg in Germany in
1497.Holbein worked mainly in Basel as a young artist. At first
he painted murals and religious works and designed for
stained glass windows and printed books. Hans Holbein
became one of the leading painters in south Germany,
After Marrying in 1494, Holbein travelled to England in search
of work. He was welcomed into the humanist circle of Thomas
More, where he quickly built a high reputation. After
returning to Basel for four years however due to the recent
protestant beliefs there was no work, therefore he resumed
his career in England in 1532. This time he worked under the
patronage of Anne Boleyn and Thomas Cromwell. By 1535, he
was King's Painter to King Henry VIII. He embedded layers of
symbolism, allusion, and paradox in his art, to the lasting
fascination of scholars. After his death, some of his work was
lost, but much was collected, and by the 19th century,
Holbein was recognised among the great portrait masters.
8. 8
Like many artist Holbeing was largely influenced by the
paintings of Leonardo Da Vinci. As one of the most
famous renaissance artists Da vinci pioneered the
technique known as Sfumato. "sfumato" comes from the
Italian language and is derived from "fumo" ,smoke,
fume, translated into English means soft, vague or
blurred
The Mona Lisa is one of the many
examples that exhibits the technique.
Leonardo da Vinci described sfumato as
"without lines or borders, in the manner of
smoke or beyond the focus plane”. Holbein
was heavily influenced by this technique
and it can be seen in many of his works
such as this portrait of ann of cleaves.
Even the pose and facial expression of the
subject bears a lot of resemblance to Da
Vinci’s Mona Lisa.
9. Andrea Mantegna
religious italian painter and
printmaker
Art is characterised by
carefully considered
compositions, bold and
innovative use of perspective
and foreshortening and a
precise and deliberate
manner of execution, an
aspect that was commented
on during his lifetime.
11. 11
Ralph Wornum- former keeper of the National Gallery describes The Ambassadors
-memento mori, recurring theme in all of Holbein’s work
12. 12
The Ambassadors
1533
Oil on oak
207 x 209.5 cm
• left Jean de Dinteville, french ambassador to
england in 1533, dressed in pink satin and a
black satin gown trimmed with velvet and lined
with lynx.
• On the right is George de Selve, Bishop of
Lavaur, who visited him in England that year.
• shelves full of objects; globes of heaven and
earth and other astronomical instrument, books
and musical instruments. All the objects display
enormous wealth and intelligence of the
individuals.
• between them, at a diagonal is a long greyish
shape, when viewed from the side reveals a
distorted skull, known as anamorphosis
• considered to represent resurrection, as
suggested also by the silver crucifix hiding in the
top left of the painting
13. 13
The Body of the Dead Christ in the Tomb, 1521 30.5 cm x 200 cm
• life size, outstretched forefinger
• use of colour, real depiction of flesh
• memento mori “remember that you must die”
• sickly colours
• claustrophobic atmosphere
