As an Austrian Expressionist, Schiele wanted to show his viewers how the world felt, rather than how it looked through his paintings. Schiele's inner struggle with personal feelings came through in the way he distorted form, color, and space. The raw emotions and chaotic scenes reflected Schiele's torture with the sexual and psychological mind. Unnaturally long and disjointed figures were very popular for Schiele, making him most famous for his portraits-specifically of himself.
Portrait of Friederike Maria Beer
1914
Egon Schiele
http://www.paintingmania.com/portrait-friederike-maria-beer-120_6258.html
This portrait is an example of Schiele's application of distortion. The hands and awkward position of the figure's head gives the viewer an idea of Schiele's expression of inner conflict; a struggle to be calm, logical and clear-minded. This painting also allows only a few ideas of space; the figure's feet heavy with shadow, but no floor. A darker outline surrounds the figure, but no information to a natural scene. Finally, even though this is not a self-portrait, this painting was relevant because even through a representation of another man, Schiele included famous feathers in which are present in the paintings he composed of himself.
Moderne Galerie Theatiner-Maffeistr
This portrait is an example of Schiele's application of distortion. The hands and awkward position of the figure's head gives the viewer an idea of Schiele's expression of inner conflict; a struggle to be calm, logical and clear-minded. This painting also allows only a few ideas of space; the figure's feet heavy with shadow, but no floor. A darker outline surrounds the figure, but no information to a natural scene. Finally, even though this is not a self-portrait, this painting was relevant because even through a representation of another man, Schiele included famous feathers in which are present in the paintings he composed of himself.
Max Oppenheimer (Exhibition Poster)
1911
Egon Schiele
Again, in this poster we see Schiele distort his figure by elongating the man's torso. The viewer gathers a sense of depression, personal pain, and undesirable feelings. In the text we were shown examples of posters by Schiele, and I wanted to find one not featured to compare. This poster exposes agony, similar to Schiele's Galerie Arnot poster. Both posters share the minimal use of color; also adding to the depression of the figure. The composition of the posters are in addition relative to each other with a central figure framed by information.
The Embrace is known for its sexual imagery of love. Even though the figures are still distorted to some degree, they are not to the extreme of some of Schiele's earlier paintings. Schiele expresses an abstraction through the colors, sheets, and even the hair of the figures. This abstraction however, is not one of torture, conflict, or chaos.
The Embrace
Egon Schiele
1917
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