Schiele Vs Kirchner

Schiele Vs Kirchner
In the 20th century, Expressionism was booming and artists around the world were expressing
themselves like the world had never seen before. Expressionism is a manner of painting, drawing,
sculpting, etc., in which forms derived from nature are distorted or exaggerated and colors are
intensified for emotive or expressive purposes (Dictionary.com). Artists like Egon Schiele, the artist
of Reclining Woman with Black Stockings, and Ernst Ludwig Kirchner, the artists of Woman
Sitting, were both pioneers of Expressionism. While both Schiele and Kirchner painted the figure,
they utilized different techniques to create contrasting levels of intimacy. These techniques are color
choice, brush strokes, and composition. Schiele relies on chiaroscuro to ... Show more content on
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The lack of a background draws more attention and emphasis to the woman, therefore creating a
higher level of intimacy. For both artists, they chose to have their subject staring directly into the
viewer's eye, creating a sense of vulnerability and intimacy. It is clear that both artists are expressing
what raw emotion looks like to them. Both paintings are of a woman sitting. She is clearly the center
of attention. Both women are sitting in a rather intimate way. For the woman in Scheele's painting,
she is sprawled out in a way that would be deemed rather provocative to the culture of the time
period. She is also wearing was seems to be a thin silk dress, black stockings, and heels which leads
this painting to be more intimate. Both Schiele and Kirchner were known to distort the figure.
Kirchner utilizes different values and diminishing scale to create atmospheric perspective. While
Kirchner focuses on perspective and creating a background for the subject, Schiele solely focused
on the figure to bring emphasis to the woman. Both Schiele and Kirchner were known for outlines
and distorted figures. As artists, they looked at their subject and drew them as they were, not as
society would want to see
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Essay about Egon Schiele's Self-Portrait
Egon Schiele's Self–Portrait
When I look at this portrait, the first thing that hits me is the way the artist, Egon Schiele, appears to
have made himself look animated, like a cartoon. The way in which his right eye is rounded like a
cartoon character and his left eye is squinting and almost shut, adds to the idea of a the portrait being
a cartoon. The squinted left eye is as if he is sneaking around and evaluating his surroundings. If you
cover the right side of the face (with the widely opened eye), it makes you realise that the left side
with the squinted eye does not look very lifelike, but the two eyes seem to cancel each other out.
The over exaggerated wrinkles on Schiele's face and neck make him look a lot older than he actually
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I have found out that at the time of this painting, Egon Schiele like to give an expression of extreme
poverty. But his claims that at this time he was virtually in rags are at odds not only with what his
contemporaries have to say, but with the photographs taken of him. His letters make it plain that he
suffered from a degree of persecution mania (a feeling that others have evil designs against one's
well–being) – for example, he wrote in a letter of 1910: 'How hideous it is here! Everyone envies me
and conspires against me. Former colleagues regard me with malevolent eyes.' This information
could back up the idea that Schiele was making himself look older in the paintings and look
animated because he actually felt old, and the fact that the left eye is squinting as if looking around
and being paranoid could also be due to his persecution mania at the time.
The portrait is basically just an artist's self–portrait. Around this time, Egon Schiele became
fascinated by his own appearance, and made self–portraits in large numbers. This is one of those
portraits. The title does not give away any clues to the meaning or symbolism of the piece, it is just
called "Self–Portrait Pulling Cheek".
One of Schiele's idols was Gustav Klimt, who had previously studied at the same school, the School
of Arts and Crafts in Vienna. We cannot really compare any similarities between the two artists
styles, but we can maybe say that Schiele was influenced by

Egon Schiele's Portrait Of Wally Essay
Art, in essence, is one of the most crucial pieces of cultural history. It transcends language, emanates
emotion, provokes thought, and stimulates imagination. In other words, art is of monumental value
in its scope of what befalls under its umbrella. It was no wonder why during the Nazi regime from
1933 – 1945 that the Nazis would thieve some of Europe's most treasured works but also those
deemed "degenerate." Egon Schiele's Portrait of Wally is a perfect example as to what "degenerate"
art would be considered and what the Nazis would have been interested in seizing, but why? Egon
Schiele's Portrait of Wally is a figurative oil painting depicting Walburga Neuzil. In this painting, a
medium to close up view of Neuzil as she gazes out of the picture with blue, oversized eyes. She
wears a black gown with a white lace collar. Her hair is red, curly and short. Her head lowered with
an inviting charm. A sort of melancholic aura and sadness looms in the painting. ... Show more
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In their relationship over the ensuing years, Neuzil would become Schiele's model, muse, and lover.
Although four years her senior, Schiele would rely on Neuzil for her care and as inspiration for his
work. A pivotal moment of their relationship occurred when Schiele was taken into investigative
custody for abduction of a minor. Although the charges brought against him were groundless,
Schiele served time in prison for 24 days for "distribution of indecent drawings." During his prison
sentence, Neuzil visited Schiele every day to provide art supplies and prove her devotion. The
relationship subsequently came to an end in June of 1915 when Schiele married Edith Harms.
Schiele and Neuzil never met again. Neuzil became a nurse for the war effort and died on Christmas
day of 1917 of scarlet fever in Croatia. Schiele would die months later from Spanish flu on the 31st
of

The Art Of The Human Body In Art
For centuries, artists treated the human body with reverence. The Greeks idealized the human body
in sculpture. Michelangelo idealized the human body in painting, as did the Neoclassical and
Romantic artists. While the Realists may have been the first to resist idealization of their subject
material, it wasn't until the Expressionists in the late 19th century that artists began to deliberately
distort the human body for a psychoanalytical purpose. Painters such as Gustav Klimt and Egon
Schiele developed new painting styles to explore a greater truth not accessible through mere
representation. For example, Klimt further developed Gustave Moreau's Symbolist style, frequently
recalling Greek and Roman myths in his works, such as the Furies in Jurisprudence. Schiele used
distortion of the outer body to express a tormented inner state, such as in Seated Male Nude (self–
portrait).
Oskar Kokoschka's self–portrait cover design for Der Sturm magazine continues the development of
Expressionism in two key ways. First, the figure's resemblance to Jesus Christ exhibits a
continuation of resorting to symbolic structures to convey a greater theme. Second, Kokoschka's
decision to paint himself reflects a trend of Expressionist artists at the time focusing on themselves
as subjects for art. Both of these techniques combine to express Kokoschka's self–identification as
an Expressionist martyr.
The Expressionists were heavily influenced by the Symbolist's emphasis on non–representative art
to

Research Paper On Schiele
Schiele was an Austrian artist, who specialized in painting, printmaking and drafting. He was born
in the year 1890 in Vienna, Austria where he died at age 28 in 1918(Wolf.) Schiele had grown up in
a typical family setting with two older sisters, making him the third child in his family. From a very
young age, Schiele possessed and showed his artistic ability. After his father had passed away
Schiele started to attended "Vienna's Akademie der bildenden Kunste (Academy of Fine Arts) which
Gustav Klimt has also attended (Wolf). At age 16, Schiele was the youngest student who to be
enrolled at the Vienna Academy of Fine Arts. (Chu) While he attended school here for the short
amount of time, he artistic ability and style was pushed. Egon Schiele was inspired by the artists
around him, especially Gustav Klimt. "Schiele sought out Klimt (wolf). These two artists bonded
very quickly and it's because of this bond between them that sprung Schiele's art career forward. A
group of Schiele's friends left the academy in a protest against their school's way of teaching. From
this Schiele found a new group who were exactly like him. (Wolf). During Schiele's career, he was
involved in a controversy over a female. ... Show more content on Helpwriting.net ...
His artwork incorporated major distortion of figures, and went against everything "normal". "Egon
Schiele was one of the leading figures of Austrian Expressionism. Egon's had a very unique and
different style, which made him stand out from the rest of the artist of this time. Over time his work
became more realistic, but also held his original style of being very expressionist (Vara). Schiele's
artwork was nothing around, he broke away from his mentors, and started to make art that
represented him. Although he still used techniques and skills learned from his influences he had a
very unique style, which starts the Austrian expressionism

Alice Neel And Schiele Analysis
Alice Neel and Egon Schiele were some of the most daring artists of their time. Neel was especially
known for her uncaring attitude of what was "in" at the time, while Egon Schiele was similarly
known to paint some of the most bold nude figures of his time. Both painted what they wanted, not a
thought towards what was socially acceptable. They both focused on painting people around them,
or in Neel's case, random people on the street, and Schiele was often compared to Picasso in his
obsession with self–portraits. Either way, while Alice Neel and Egon Schiele were from opposite
sides of the planet, they shared a remarkably similar style of painting and rendering of the subjects
in those paintings. Alice Neel wasn't noticed until much later ... Show more content on
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In Andy Warhol we see a sense of shame, but also acceptance and contentment by the light clasp of
his hands, and the slight straining of his shoulders. His eyes are closed, which could either be out of
fear of being seen, or a sense of peace at finally being seen. His lips are delicately pursed, which,
again, shows that he could either be fighting the urge to cower and hide, or his own frustration with
this desire, and his determination to continue. In addition to these many subtle expressions of
emotion, we know that the actual man was known for his cool and confident attitude, which tells us
just how much of a big deal his utter vulnerability truly is. Neel has stripped all outside masks, and
has unearthed the frightened, old man beneath Warhol's suave persona. Conversely, we see nothing
but aloofness and an impassioned gaze within Schiele's Self–Portrait with Chinese Lantern. Schiele
has drawn himself looking at the viewer with his chin held up and his shoulders tilted back, an aura
of complete confidence and self–importance all but oozing out of him. His face seems to ask, "Is
that all that you've got?". The placement of his arms belies his face though, for they're tightly bound
around his front, near his waist, showing that he may not be as self–assured as he

Summary Of Little Aster, By Gottfried Benn
Reflect on ways in which this poem expresses and develops aspects of the trajectory we have been
following in art and literature this semester.
Over the course of the semester, a trend that has certainly stuck out to me is that different art
movements arise in reaction to the movement of the time. Romanticism arose in response to Neo–
Classicalism. Realism reacted against what was seen as excessive idealization and de–emphasis of
the "real" by the Romantics. Two groups arose in reaction to Realism: the Impressionists, who
further developed the idea of "conveying the real," and the Symbolists, who harken back to
Romanticism's focus on emotions and subjectivity. Additionally, the Symbolists argued that all
objects contained meaning within them, and Symbolist writers such as Baudelaire and Mallarme
aimed to unlock these meanings in their works. Aestheticism reacted against the Symbolist idea that
all objects contain meaning by creating "art for art's sake." To the Aestheticists, there was no such
thing as underlying meaning beneath an object: there was only surface.
In close reading "Little Aster," we may catch a glimpse of Gottfried Benn illustrating this trajectory
literature progressed toward from Romanticism to Expressionism and the cusp of Modernism.
Indeed, Benn takes advantage of literary techniques and sentimentalities to attack the Aestheticist
idea that an object is just an object, while also distancing himself from Romanticism's idealization
of Nature. In other words,

Siopis In Face The Drink
Penny Siopis and Egon Schiele influenced the use of colour in my piece "Face the Drink". Siopis
influenced it by her lithograph "Model Prisoners", which showed me how expressive colour really
is. Egon Shciele influenced my work, by the way he uses distorted figures and faces to express
emotion, as well as his use of arbitrary colour. Both Schiele and Siopis has taught me many different
techniques that I am excited to use in the future. Penny Siopis influenced my drawing style by the
use of her emotive colours (predominately red) and her semi–distorted faces, from her Pinky Pinky
series. In her lithograph "Model Prisoners" a lot of emotion is shown through her use of red, to
symbolising intense passion, aggression, and courage. My goal for my piece "Face the Drink" would
be, like Siopis, to show emotion through the colour and distortion of tone. My concept behind "Face
the Drink " is to express alcohol abuse and how it makes one feel, by simply using colour to make
viewers feel the dizzy effect alcohol gives people. My main aim is to fill the wall with my distorted,
colourful faces to make people feel over whelmed and uncomfortable. Siopis taught me that a
message can still be strong without the use of many colours, but in my case I felt like my piece
needed many colours to portray the message. My piece has rough washes of many ... Show more
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I feel inspired by him because of the fact that his work seems so care free, as if he did it without
caring how the final product will turn out to look. This made me extremely interested in him, also
due to my style being very similar to his. I prefer being care free and rough, without knowing how
the end product will turn out. To me it's about the emotion that one puts in while doing the work and
then being surprised at the end. Working quickly and roughly is the way I express my feelings and I
feel like Schiele does the

Egon Schiele Spread Finger
Egon Schiele, Self–Portrait with Spread Fingers, 1911 (see below) Without the title or other
information provided, how would you interpret the image? – How I see the image is an image of
man sitting in the foreground with his hands placed on his chest making a gesture similar to the
peace sign. His wrinkly skin, suggests he is an old man and the red scar on his cheek bone seems
like he may have been in a physical fight. As my eye wonders to the background, there is a thin
black line indicated a plant that has withered may be due to lack of water and sunlight. – The paint
strokes, seem to be contrasting and chaotic with dull tones of reds, beige and black, suggests that the
external circumstances are not the best living condition. – The signs observed in this image, suggest
that an old man is tired of the ... Show more content on Helpwriting.net ...
The hand gesture in North America may mean peace but it may be change depending on the amount
of fingers used and the facing of the palm. The withered plant in the background could foreshadow
death since it can be considered a bad omen in other cultures of having dead plants in the home.
Since there is not suggestion of the location of this image, the dark brown shade on his cheek bone
may just be interpreted as a makeup trend in 1911. How does cultural knowledge change how we
make meaning from an image? – The positioning of the fingers would the be first thing that the
viewer makes interpretations about. Perhaps this could have been a code or a sign used by someone
in the minority group to pass on to another group without the authority knowing about it. The
viewer's place in society, could have different interpretations of either the hand gestures, age of the
person or the other objects in the background. What other meanings might be

Bruno Bettelheim 's `` Punishment Versus Discipline ``
Bruno Bettelheim is one of the most influential child psychologists who lived in the 20th century.
Bettelheim's writings and theories cement his reputation as one of the most influential psychologists
by teaching parents the proper way of raising their child. His ideas and writings also establish his
prestige by revolutionizing the way in which psychologists treat children with mental health issues.
He changes the way in which mentally–ill children are treated by promoting milieu therapy as an
alternative method of healing these children. His ideas are relevant today because they assist school
and educational institution in dealing with the problem of bullying. His works allow psychologists
and educators to understand the bully's actions and the victim's responses, thus assisting them in
solving the problem of bullying.This essay summarizes and provides a deep analysis of Bettelheim's
works and ideas with the aim to explore how his ideas help schools to deal with the problem of
bullying. Bettelheim's article "Punishment Versus Discipline" analyzes the toll that punishment has
on children. Bettelheim explains to the parents that through violence they inspire their children to
use their power to intimidate others by imitating the behaviors that were inflicted on them
previously. He also tells the parents that using physical punishment does not deter their children
from committing the action and that it can encourage them to become "devious" or untrustworthy
(NP). This

The Pathological Body Analysis
In Gemma Blackshaw's "The Pathological Body: Modernist Strategizing in Egon Schiele's Self –
Portraiture" she relates the stylistic qualities of Schiele's paintings to images found in medical
journals that were popular in Germany during the same time Schiele was creating works of art.
These journals and the image of his sick and dying father could both be reasons to why Schiele's
stylistic change is one that shows his figures as diseased and often frail (unlike his own healthy
body). Rather than try and find some inward reason to why Schiele's style shift in the early 1910's
away from Klimt's style; Blackshaw looks for meaning elsewhere to why there is a sudden shift in
his artwork. She brings up this market also to be a reason behind Schiele's shift in style however the
focus for the frame of these images is more so a ... Show more content on Helpwriting.net ...
In relation to this according to the Bible man is created in Gods image – but what Frankenstein
could one conclude that the "monster" is created in man's image and that man is inherently evil?
Schiele's critique of himself with these self–portraits in relation to photographs of the sick, the
diseased, people with conditions that were not understood. Could Schiele be trying to point at some
inner commonality that he believes he shares with these patients in his illustrations? One of the two
woman figure catalogued here Standing Girl in a Blue Dress and Green Stockings, gives off this
tone of being one that could be in relation to this theory – though the figure is not really disfigured
or grotesque the way she stands trying to zip up a dress from behind – her bent arm can both allude
to the state of the figures psyche. This is also seen in Crouching Nude in Shoes and Black Stockings
(Back View), as the female figure is bent over in pain or discomfort her body is positioned in an
unrelaxed fashion which is relatable to the subjects of these

Eric Maria Remarque's All Quiet On The Western Front
The effects of war on young people lead to the regression of humanity. This statement will be
proved by referring to the novel by Eric Maria Remarque, All Quiet on the Western Front, poems
from Wilfred Owen, Anthem of the Doomed Youth,, "To any dead officer", "They" as well as Christ
and the soldier by Siegfried Sassoon, music lyrics from Roger Whittaker's I Don't Believe In If
Anymore, art pieces like Mealtime and Feeling wounded by Otto Dix and Egon Schiele's portrait of
Reserve Lieutenant Heinrich Wagner and portrait of an Officer. When referring to the above
mentioned genres we will be focusing on the dehumanisation, demoralisation and disillusionment of
war that leads to the regression of humanity.
One of the paramount effects of war on young people is the dehumanization of humanity.
Dehumanization is the psychological occurrence of demonizing the enemy or one' self, manufacture
them to appear less than human and therefore not worthy of humane behaviour (Maiese, 2003).
Maiese (2003) adds that it can lead to amplified viciousness, human rights violations, war
corruptions, and genocide. In All Quiet on the Western Front (1994), soldiers rarely saw the ... Show
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Humans are being reduced to meagre cattle being slaughtered. It might be that the bell, announcing
the death of someone, does not sound, for bell is not sounded for the death of animals. Soldier not
only had to die like animals but also lived like primates. Otto Dix's Mealtime is an effective
depiction of how soldiers lived. In the drawing a soldier is being portrayed eating his lunch next to a
rotting skeleton in the trenches. The soldier's appearance is almost beast–like as if man has degraded
to their former primitive state; this state is also noticeable in his drawing Feeling wounded. War has
clearly dehumanised and animalised

Egon Schiele
The result is illustrated in Seated Female Nude with Raised Right Arm (1910, 45x32cm), a carefully
finished piece submitted to Josef Hoffmann at the Wiener Werkstätte. Carefully outlined in black
crayon on tinted paper, watercolor has been used to decorate the figure in a muted warm palette of
orange, yellow green and ochre; the tiny wedge of cerulean blue above the head adds a
complementary color accent. The line shows a tendency to peak at points of tension (the outline of
the hip, the top edge of the left shoulder and forearm), a trick that makes the contour static but not
heavy. The effect is decorative, to suit the postcards and knicknacks turned out by the workshop, but
the figure also seems tense or vigilant, as if waiting for ... Show more content on Helpwriting.net ...
These drawings increasingly minimize stylization and caricature, and go beyond mere sexual
confrontation; the figures become more substantial and sculptural; the line achieves a new strength
and complexity, and color is used to signal surface texture and contour. Schiele's increasing success
brought him a larger range of adult models and portrait commissions, and in 1915 he married,
influences that stimulated a new sensitivity to the individuality of his subjects. Crouching Male
Nude (Self–Portrait) (1917, 46x29cm), drawn just a year before Schiele's death, reveals many of
these developments. The sense that Schiele is playing a narcissistic fantasy character is gone; his life
as an individual matters more. As in nearly all his drawings, the figure is isolated against the bare
page, stripped of context or props. The left arm seems to put a hammerlock on the negative space,
some invisible adversary that has chewed off both hands. (Oddly, Schiele seems to have greatly
disliked showing hands and feet: they are usually hidden or omitted, and when they appear are
harshly drawn.) A coil of gray extrudes from under the grotesquely dislocated hips, drawn as if a
rumpled sheet, but alluding to excrement or evisceration. Yet these bizarre aspects of the drawing
lend the figure a taut energy, alertness and resilience. The pose, and the treatment of line, texture and
color, closely resemble

Modernism: Vienna, Klimt, and Feminism
Vienna was a city in turmoil at the end of the nineteenth century. Society was changing; women
were beginning to gain power; art was changing. Gustav Klimt and his Vienna Secession played a
great role in this modernization of Vienna. Klimt began as an academic painter; however, after both
his father and brother died, his style began to change. He helped found the Vienna Secession, and he
began to draw and paint nude models. He never married, but he had multiple affairs with his models.
During the 1890s–due to all the changes in his life and the city around him–his lifestyle and
therefore artistic style began to completely and radically change from heavily academic art to
extremely scandalous, almost pornographic work. The rise of feminism and general empowerment
of women in Vienna stimulated the Vienna Secession, specifically Gustav Klimt's work, which also
assisted the growth of feminist movements. Gustav Klimt and Viennese feminist movements had a
symbiotic relationship, each helping and needing the other succeed.
Klimt was not a feminist; however, without the feminist movements of Vienna, he would not have
been nearly as successful. He enjoyed the eroticization of women, and his work was rebellious in its
portrayal of nude women. Even his work that did not actually depict nude women was still
extremely sexual, and it was offensive due to its highly erotic and taboo nature. Klimt's art
astounded the Viennese population and became a scandal, making it more well–known.

Movie Analysis : The Movie ' Starts With Klimt '
1. This movies employs an unreliable and omniscient narration. This film is not structured
chronological, but rather takes on the role of square dancing. Therefore, the movie starts with Klimt
on a bed in the hospital and the last scene is him, dead, on the same bed. Moreover, the second scene
is Klimt being in cafe society event with cake being a recurring object and the scene before he dies
focuses on a table full of cakes in that same event.
2. The point of view presented is through a combination of Klimt's and of Schiele's. This is
represented with the camera angle of the scene right before where Klimt 's hallucinations based on
his life are shown. The camera directs to Klimt pointing at the mirror which Schiele nears it, and
then it ripples into Klimt's life. Both of these artists' style is mostly absurd and distorted, which
reflects the way their mind is working, and because of this, it does to an extent hinder the objective
of the film.
3. There are three distinct main characters in this film. They include Gustav Klimt the artist, Midi
the fashion designer and a life companion of Klimt and Schiele who is Klimt's protege. There is a
fourth main character that is mentioned by the name of Lea De Castro an actress from George
Milenes' movie, where Klimt falls "in love" with her. However, there is no certainty that she is a real
person as she is portrayed in doubles. Moreover, Klimt saw her as a 'perfect' woman, which opposes
his view represented his paintings. He

Klimt's Influence On Egon Schiele
Egon Schiele, early 20th century artist and apprentice of Gustav Klimt, caused quite a controversy
with his risquee nudes unapologetic eroticism. Schiele, though associated with figurative painting,
was also considered an early predecessor of the Expressionist movement through his expressive and
emotive lines. Schiele's paintings and drawings are far from being simply suggestive, and are rather
explicit in their subject matter. His blatant display of sexuality in the majority of his works has
consequently made his retrospective iconic, rather than raising only a few specific works to iconic
status. Schiele's pieces can often be characterized by its subject matter– models, mainly from lower
classes, and those near to him. By considering his ... Show more content on Helpwriting.net ...
Although he acted as protege to Gustav Klimt, a symbolist painter, he himself is characterized in a
figurative and early expressionist style. Figurative by definition indicates a work created according
to a real source, model or object. While almost all of Schiele's works are modelled after people, they
are not entirely realistic; whether that be by definition of colour, line, form or space. Schiele's
association with early Expressionism comes through his evident divergence of realism, seen through
his starkly contrasted colour palette and distorted, emotional lines (Schmidt 1988). Besides the
extremely risquee subject matter for a conservative pre World War I Austria, Schiele experimented
with the angles of his pieces. There are a handful of his works featuring more than one model, but
the relationship between the models is almost disconnected by a lack of linear perspective (Fischer
2004). In images such as Three Girls (1911) it is unclear whether three separate models are
interacting with one another, or rather one model who was drawn three times in different positions
and perspectives. Schiele is said to have drawn from atop a ladder to gain a "bird's eye view" per say
of his subjects (Fischer 2004). Through this process he could easily gain a sense of the sometimes
unnatural contortion of the bodies and adjust them accordingly. A more recognizable work to
consider is that of Seated Woman with Bent Knee (1917). While

The Ambivalent Nature Of The Uncanny
The notion of the uncanny is the key term for psychoanalysis and the psychoanalytical approach for
interpretation of the art. The uncanny effect is ingrained not by something unfamiliar or something
frightening but because it conveys something that has been lived through and exuded to the sphere
of an unconscious. Freud's 1919 essay of the same name – The Uncanny – has been written for
literary, psychoanalytic, critical, however not art purpose at all. It has erupted into aesthetics
discourse (Walsh 21). The notion of the uncanny constitutes an inevitable part of Freudian theory of
repression. This notion exemplifies eruption of the retrospect events in the actual time, whereas
mnemonic representation has been perplexed by fragments. Thus, ... Show more content on
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An important insight is the understanding of the background, of the era at the beginning of the 20th
century. Freud's thought evolves on a specific background around it, during the process of
industrialization, development of the technologies from photo–cinematic inventions to the
mechanisms applied in war. Visual arts such as painting, motion pictures, photography were aimed
at mirroring an uncovered epoch and life in it, together with the military conflict and further
militarization which aligned a human being to a machine, an 'automaton' (Freud 227), as a result
these aspects threaten an ordinary, habitual way of life and trigger the inceptives of the uncanny
sensations. Regardless the above–mentioned foray of cutting–edge machinery, Freud, nevertheless,
derives the instances of sensus numinis from literary studies, namely Romantic and Gothic
literature. These are the instances such as the opposition between being animate or inanimate which
evokes 'intellectual uncertainty' (Freud 221) whether the events or the objects that are presented to
the intended reader by the writer are legitimate or fictitious, in other words, whether the situation is
'real' or 'imaginary'. A further source of the uncanny feeling that is delivered by Freud from
psychoanalytical experience is anchored to the fear of castration (Freud 231). Freud refers this
example to the

The Capital Of A Great European Empire
Haley Sung
1900 Vienna
5 December 2015
1900 Vienna At the turn of the century Vienna was the capital of a great European empire, which
had for centuries profited from cultural exchange with countries as diverse as the Netherlands, Spain
and American colonies. Utilizing a complex network of marriages motivated by country's
advantage, the Hapsburg Empire was connected with all dynasties that surrounded Vienna. In the
city of Austria, cultural productivity essentially came from the multi–ethnic complexion of the city
itself, of the Austro–Hungarian Empire. The empire stood as the center of commerce and the seat of
government and drew in people from throughout Central Europe like a magnet. Especially from all
the Austria provinces, immigrants ... Show more content on Helpwriting.net ...
In the realm of creative literature, turn–of–the–century Vienna also generated bodies of text by Hugo
von Hofmannsthal and Edward Mörike, who helped define advanced, modern literature style of
German–speaking Europe and reflect on the characteristics of life in Vienna during the Habsburg
Empire.
An Austrian painter named Egon Schiele redefines beauty during the expressionism movement.
Born in June 12th, 1890 in Tuln an de Donau near Vienna, Schiele spends most of his life in Vienna
and dies on October 31st, 1918. After recognition from one of his primary art schoolteachers,
Schiele decided to take a formal training at Vienna's Academy of Fine Arts where Gustav Klimpt
had attended. He admired Klimpt's work out of all artists and found a mentor–mentee relationship
that had a great impact on Schiele's development as a young artist. He underwent through a phase of
work inspired by Klimpt then later found his own ways of creating art that forever changed how
they viewed beauty throughout 1900 Vienna. At age of twenty, Schiele studied his own naked body
in a series of self–portraits and discovered his own definition of body figures in painting. In his
painting Self–Seer I, a nude double portrait of Schiele represents autoeroticism, which was not the
norm in Vienna society. The background carries no decorations as it carries

Summary : ' Performance & The Body '
Take–Home Exam #1 Keely Hooper Performance & The Body Please answer ONE of the following
questions. Be sure to refer to specific works of art and cite aspects that defend/support your
statements. Since this is a take–home exam, I expect your essays to reflect the timeframe provided
in their organization and structure. Make sure your paper is proofread for grammar and spelling. C.
What legacies and/or contradictions do you see between the use of blood and flesh by the Viennese
Actionists and Lady Gaga? In a Wikipedia quote on 'Viennese Actionists' it call's it "a short and
violent movement,"– even compared with aesthetic art extremes of the 1960s, the unrelenting art of
Vienna Actionism stands apart. Over fifty years later, the art extremes of Viennese Actionism raises
questions about pushing limits (questionably too far?) and where the origins of the art movement
originated from bring a troubling emotional surface giving almost closer. Hermann Nitsch, along
with three other key artists to bring about the movement, was one of the main players in the start of
Viennese Actionism. Nitsch bore witness to the ravages, torment, and domination of World War II
along with its cold aftermath. Though in his work he wanted to put his finger on certain issues, such
as Austrian postwar political developments within his country. It's important to point out Nitsch was
doing this in part pointing to his his city 's deep psychoanalytic and artistic avant–garde roots from
the likes of

Julius Hen Schiele
The images cataloged here are all by the artist Egon Schiele. Since they are all done by the same
artist the images presented have a lot in common in terms of physical appearance. Line, color,
volume, cropping of the figure and the figure being shown alone; they are environment less. This is
also a technique that was used in medical journals that showed the diseased stages of patients during
the 1900's "The patients are photographed against a neutral background, such as a wall or curtain of
dark fabric, in order to focus attention on the body" in these journals the focus of the viewer was the
figure in order for the viewer to only see what the photographer wanted them to look at the
photographer only showed what he wanted viewed. Much like ... Show more content on
Helpwriting.net ...
His exploration of the naked form had little to do with the sexual content being displayed. However,
it looked at the animalistic nature of humans. Schiele who studied under Gustav Klimt in his earlier
years made art that mirrored the style that Klimt is known for. However, in 1910 Schiele's work
stylistically changed "The resultant works embraced a seemingly new aesthetic of the body that we
have since valued as being quintessentially 'Schiele': to use the words of Julius Meier–Graefe,
'shockingly thin, weak of bone and precociously diseased" this is evident in some of the images
shown here in particular Schiele's Nude Self–Portrait, the artists rendered his body in such a way
that he looks sick – even diseased this has a direct connection not only to his father's illness but also
to medical magazines that were popular at the time of the creation of these images. "Klaus Albrecht
Schroder was the first to point to photographic journals popularizing nervous disorder as possible
sources for Schiele's self–representation" . In this article, there are photographs of subjects who for
all intended purpose are diseased. They're forms are thin much like Schiele's own form is as well as
the hands are usually paid great attention to with their bone like thinness that almost looks like a

Development Of The Vienna Secession
Development of the Vienna Secession
The establishment of the Viennese Secession in 1897 marked the genesis of modern art in Austria–a
nation at the time known for its strong holdings on conservative traditions and values. It was the first
movement of artists and designers who were devoted to the renewal of art's meaning–the projection
of inner states of emotion. Led by Gustav Klimt, the Secession was the most influential breakaway;
rejecting the revivalist styles endorsed by the conservative academies, the group promoted an art
that would celebrity modernity. The Secession was largely attributed for the responsibility of the rise
to international fame of several of its members, including Gustav Klimt, Joseph Maria Olbrich,
Koloman Moser and Josef Hoffman, who helped Austrian art become renowned once again. There
were no unifying characteristics between paintings or sculptures, or even architecture: instead, its
members were committed to the ideal of modernizing Austrian art by acquainting it with latest
modern art movements–Art Nouveau, Post–Impressionism and Expressionism. The initial
movement was short lived. By 1905, there were internal divisions ultimately fracturing the "group's
monopoly on the scene for contemporary and decorative arts" (Rosenman). However, the Secession
was vital for the promotion of Austrian contemporary art.
In 1903, Hoffman and fellow associate Moser and banker Fritz Warndorfer founded the Wiener
Werkstatte, Vienna Workshop. It was a decorative

S 1st Symphony And Lord Chandos Letter And Schnitzler's...
Jaehun Lee
12/4/17
3rd Writing Assignment
At the end of the 19th century, fin de siècle did not just indicate the end of one century: it indicated
the collapse of language and a way of thinking. This idea was illustrated by works such as von
Hofmannstahl's Lord Chandos Letter and Schnitzler's Dream Story, which seem to argue that a new
mode of thinking was necessary for a new age. Indeed, Freud's writings and Trakl's poems offered
this new mode of thinking by challenging the border between what is "real" and what is "imaginary"
through their works. In music and art, a similar trend was taking place: late 19th century works
offered the audience a window into the artist's emotions, experiences, and desires. This idea is seen
in Gustav Mahler's 1st Symphony and Egon Schiele's Seated Male Nude, in which both artists
channel their experiences and emotions to release suppressed elements of their psyches. However,
the purpose for their expressivity is different: Mahler's expressivity stems from a desire to find relief
from mental stress stemming from his turbulent life, Schiele's from a desire to explore new ways of
conveying the self.
Mahler's 1st Symphony holds an intimate relationship with his childhood and upbringing; the music
reflects and reveals Mahler's experiences and desires for what his future will look like. From the
beginning of his 1st Symphony, Mahler paints a vast, open space with the string's sustained, unison
A. Various musical figures in the beginning of the 1st

Van Gogh 's Life And Effect Today
Speech: Van Gogh 's Life and Effect today.
Specific Purpose Statement: By the end of my speech the audience will be able to list 3 parts of Van
Gogh 's life and his achievements that affected the future.
INTRODUCTION:
Attention Getter: Imagine being one of the most well recognized names of the modern world, your
name attracts millions, dozens of films and book are created after you. But at the same time imagine
your life being filled with depression and rejection for the craft that you are beloved for.
Thesis Statement: Although Vincent Van Gogh's work is recognized around the world, his life was
full of depression and rejection from people and the art world, but still he impacted the style of art
forever.
Credibility Statement: I have ... Show more content on Helpwriting.net ...
He also threw many tantrums and was ill–tempered constantly.
Also from this article, it had quotations of what different members of his family had to say about
Vincent. His sister Elizabeth claims that Vincent would walk around clumsily consistently in daze
with his head held low. C. Van Gogh did not immediately get involved with the art world, but rather
he was constantly having to adapt to what his parents expected from him, leading his into distress.
1. According to the Article "Vincent Van Gogh" by Chris Stolwijk, accessed by the Gale Biography
in Context Database, Van Gogh worked very faintly in a french art print dealer business that was
introduced to him by his uncle, also named Vincent Van Gogh, who was a partner. There he learned
to respect the visual arts.
2. Also from the same text, Vincent lost interest in this business and later went on to study theology
and follows his father 's expectations. Sadly, he also failed at this endeavour as well. Not until many
occupations later did his infamous brother Theo Van Gogh suggest that he would become what he is
most known for, an artist.
These rejections foreshadowed the future mindset of Van Gogh, constantly rejected and "failing",
leading to his breakdown.
Internal Summary/Preview: Now that we have learned Van Gogh 's bring, early life, and multiple
endeavours, we can go to his main attribute in his life, his paintings. We will see the repercussions
and

Oral Fixation Paper
Final Research The working title of my integrating seminal is "Oral Fixation". My seminar will be a
photography project for which I will be taking close–up photographs of people's mouths so that the
teeth, mouth or tongue are recognisable but do not look like they belong to an individual. The person
being photographed should be not be identifiable, because their identity is irrelevant. This could be
dehumanising, since the people photographed are reduced to only their body parts. The reason that
their identity is irrelevant is because this photography project is ultimately about me and my
fascination for the mouth. I intend for this to be both an ironic celebration my own feelings of
disgust for my physical body and a catharsis of my mild ... Show more content on Helpwriting.net ...
It starts shortly after birth, when the infant experiences nourishment for the first time. While
feeding, the child learns that pleasure can be obtained from the very sensitive organ that is the
mouth. The child might suck on his thumb, which provides pleasure even if there is no milk, which
is the first form of auto–erotic pleasure that humans experience. Children will also experience their
first frustrations in that stage, for example hunger and thirst, and their first aggressive impulses, such
as biting, yelling, and crying (Kahn 42). The main conflicts that arise in that stage are weaning,
feeding, and thumb sucking. Scheduled feeding, and ignoring the baby's cries to be fed outside of
scheduled times, teaches the baby that his needs are less important than others'. Punishing a child for
sucking his thumb teaches him that pleasure is shameful and bad. Weaning to early or too late might
lead to an oral fixation (43). Severe oral fixations can lead to eating disorders and extreme passivity
and dependence, will mild oral fixations lead to eating when stressed or lonely, mild passivity and
dependence, and a craving for oral stimulation (Wood et al.

Comparing Schiele's Reclining Woman And Liepke
A study of Egon Schiele's drawing, Reclining woman (1916) and Malcolm Liepke's painting,
Eternal and Close cropped blonde present women as respected figures. Despite portrayed as erotic
and sexual, the artworks of both artists have highlighted sexuality and cultural symbolism in their
corresponding contexts. Whilst Schiele's sensitive drawings are graphic and provocative, frequently
modeling nude women, the embrace of physical distortion highlights his genuine obsessiveness and
adoration of women in contextual society. In contrast, Liepke's paintings reflect women caught up in
intimate moments highlighting themes of femininity, cultural symbolism and topics of ideologies
from a postmodern perspective. It is the exploration of each artist's ... Show more content on
Helpwriting.net ...
Heavily influenced by conceptual styles of Edgar Degas and John Singer Sargent, Liepke takes on
the perspective of a flaneur, observing contemporary life whilst hoping to reveal the personalities
and intimacies of his sitters. This sense of intimacy is expressed in Eternal, where a voyeuristic nude
is captured through a realistic lens over a pornographic one that is alluring and honest despite bare
appearance. Representing the female subject as someone to be liberated, Liepke manipulates
stylistic poses for the nude model as she is rolled up like that of a child in a fetal position upon a
dark and thick surface creating a contrast, suggesting protection and vulnerability being exposed.
This mirrors the dominating psychological reactions of female citizens– being restricted and
grounded in traditions of submissiveness and limited freedom in response to corrupt post modern
expectations. Liepke reinvestigates the cultural representation of female roles in using vector lines
that separate the background into three sections. Of which the stray brushwork in the gold, yellow
ochre wall conveys a freedom of mind and casualness encapsulating majority of the figure yet not
entirely. Being 'quarantined' by the pillars of sap green

Egon Schiele's Art
The eruptions of the Uncanny in Egon Schiele's art legacy
Introduction:
The notion of the uncanny is the key term for psychoanalysis and psychoanalytical approach for
interpretation of the art. The uncanny effect is ingrained not by unfamiliar or something frightening
but because it conveys something that has been lived through and exuded to the sphere of an
unconscious. Text that was written about literary, psychoanalytical, critical but not art purpose at all
was erupted into art discourse (Walsh 21). (Then I'm not sure, should I introduce the whole concept
of the uncanny straight away in the introduction AND then introduce a short introduction about
Egon Schiele's life. –> ) The Austrian Expressionist painter Egon Schiele (1890 – 1918), whose art
works have been referred to as manifesting motifs of 'sexuality, insanity, and death' (Knafo 138) that
compels scrutiny of personal psychic borders, 'primarily through repeated, merciless confrontations
with [...] identity, sexuality, and mortality' (Knafo 134) that parallels the bourgeoning attention to
psychoanalysis at fin–de–siecle Vienna that was depicted as 'an isolation cell in which one is
allowed to scream' (Comini 1974, 3). (Should I add more about his lifespan and to connect why I
consider this uncanny or not to be repeated this should be introduced in the main body?)
Thesis: ... Show more content on Helpwriting.net ...
The aim of this paper is, therefore, threefold: Firstly, to analyze the inceptives of the uncanny within
the artist's path, second, to establish the relationship between the motherhood and monstrousness
within Schiele's art heritage. Egon Schiele's masterpieces will be pertained so as to depict the
theoretical texts' pertinency for literary discourse. The point of departure for the current essay is
Freudiean theory of the uncanny (Should I state how and what is going to be

The Work Of Egon Schiele
Introduction
The work of Egon Schiele is very important to me personally.
In this Extended Essay I focus on Egon Schiele because his artworks influence me. He likes to show
his hands in his painting and photos. In his self–painting, I can always find out that the hands always
attract my eyes. His hands really impress me and I really like his hands. This gives me an idea that
to put my own hands on the social software and see that will people love my hands in this era. Now,
I think the answer is yes. There are more than 6,000 people like my hands in that social software.
Egon Schiele used different action of his hands to show his expression and maybe his attitude to the
era. That makes me pay attention to Egon Schiele's life and experience, and then I am interested in
Egon Schiele's whole life. Although he do not had a long life, I still want to explain the meaning of
his short life.
Egon Schiele was an Austrian painter, who is the disciple of Gustav Klimt. In the early 20th century,
Egon Schiele was one of the major figurative painters at that era. His artwork is famous for its
intensity and also its raw sexuality. For example, the paintings of naked women and the many self–
portraits he produced, including naked self–portraits. The twisted body shapes and the expressive
line of Egon Schiele 's paintings and drawings marked him as a pioneer of Expressionism in the
early 20th century.
During his short life, there are a huge number of events happens, and these events

Art versus Pornography Essay
Art versus Pornography
Her head rests on her left knee, with her hands clasped on her ankle. Locks of hair are thrown about
in an auburn blaze. Her tight rosy lips are as red as her cheeks. Her dark–blue eyes reveal a half–
seductive, half–submissive look. Her legs are in a subdued spread–eagle formation, leaving her
crotch area quite visible. Her white panties leave little to the imagination. The sexual overtones are
more than just a coincidence. Suspend your imagination for a minute and ask yourself if the
description formed in your mind a work of art or, instead, a photograph of softcore pornography,
found in such magazines as Hustler or Playboy? Where this description is taken from will be
disclosed later, ... Show more content on Helpwriting.net ...
The problem unfolds itself with two simple definitions. Webster describes art as "creative work
generally, or its principles; the making or doing of things that have form and beauty." He defines
pornography as "writings, pictures, etc. intended to arouse sexual desires or the production of such
writings, pictures, etc." To elucidate these definitions further, art primarily focuses upon form and
beauty, pornography on sexual arousal. The line between a pornographic photo and a work of art, is
the way the body is presented. Pornography is concerned with titillation and feelings of lust, while
art is concerned with beauty for aesthetic purposes. In a pornographic photo the body is considered
"naked" whereas in a work of art, it is considered "nude." Nakedness is usually equated with
arousal, whereas a nude is a higher classification of an unclothed body, it does not necessarily imply
lust or titillation. In describing someone coming out of the shower, one would say "That person is
naked" rather than "That person is nude" because "the nude" is considered a form of art. The
distinction between naked and nude is aesthetic versus pleasure. Art serves to please the eye, but this
is not its only redeeming quality. Art is intellectual as well as pleasing. Robert Mapplethorpe's
photos of the male nude are art not simply because of the form of the body is beautiful, but because
of the

Ghostbusters: A Short Story
The Ghostbusters walk to the elevator. As they were waiting for the doors to open, Peter says to Ray,
"I see that nurse likes you."
"Yeah, she has a crush on me. She even asked me out."
"Really?" he asked with a wide grin. "What did you say?"
"I told her I'd have to take a rain check."
The elevator doors open and they walk in, Ray hitting the three button.
"What," Peter asks confused? "Now why would you say that, Ray? She's good looking."
"Well, two things: One, I don't know when I'll be off to be able to go out for lunch or coffee. And
two, I don't have an interest in her."
"Um, ok? One, you can always take the day off when or if you need to. And second, why'd you say
you'll take a rain check if you're not interested in her?"
They were now heading to Irma's door.
"I don't know. I guess I just didn't think I would be ... Show more content on Helpwriting.net ...
Peter knew that he shouldn't think that way since he already has a girlfriend of his own, but it was
true! And, he knew Ray! He wouldn't just go for the pretty ones, but more so the gorgeous type.
"Ah," Venkman said in a whisper close to his friend's ear. "Now I know why you're not into that
nurse."
"Pete!" Ray said in a louder whisper than he wanted, the others in the room hearing him. He was
embarrassed by what his friend said.
"A...Sorry." He cleared his throat, looking away sheepishly.
"It's alright my friend," Peter said laying a hand on his shoulder. "We've all been there."
Venkman looked back over to Irma then said to Ray, "now, why don't you properly introduce us to
our client since we were unable to do that the first time we met."
"A, yeah, sure," Ray swallowed some of his discomfiture away. "I guess I should."
"You should. It's only polite."
"Ok, guys, this is Irma Trisity. Irma, this is Peter Venkman, Egon Spengler, and Winston
Zeddemore." He pointed to each person as he said their name.
"Nice to finally meet all of you." Irma extended her hand to them.
"Likewise," Peter shook her hand with a

Schiele Vs Kirchner

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