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Modernist Strategising in Egon Schiele's Self-Portraiture

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Modernist Strategising in Egon Schiele's Self-Portraiture Downloaded from https://academic.oup.com/oaj/article/30/3/377/1609081 by guest on 01 October 2021 The Pathological Body: Modernist Strategisingge in Egon Schiele’sm Self-Portraiture shaw Gemma Blackshaw Downloaded from https://academic.oup.com/oaj/article/30/3/377/1609081 by guest on 01 October 2021 The Pathological Body: Modernist Strategising in Egon Schiele’s Self-Portraiture Gemma Blackshaw This young Vienna was like a lad who has grown too quickly, tremendously tall but shockingly thin, weak of bone and precociously diseased.1 1. Julius Meier-Graefe, Modern Art: Being a Contribution to a New System of Aesthetics (William In 1910, the twenty-year-old Egon Schiele asserted his artistic independence Downloaded from https://academic.oup.com/oaj/article/30/3/377/1609081 by guest on 01 October 2021 Heinemann: London, 1908), p. 307. First from his mentor Gustav Klimt and Vienna’s dominant Secessionstil by published in German as Entwicklungsgeschicte der embarking upon an intense project of self-portraiture. The resultant works modernen Kunst (Julius Hoffmann: Stuttgart) in 1904. 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, 2. Meier-Graefe was a key figure in the ‘shockingly thin, weak of bone and precociously diseased’. However, organisation and promotion of the seminal 14th Secession exhibition Entwicklung des Meier-Graefe’s description of modern art in Vienna, with its interesting Impressionismus in Malerei und Plastik of 1903. metaphor of the pathological male body, did not evolve out of viewing such Austellung der Vereinigung bildender Ku¨ nstler works as Schiele’s Seated Male Nude (Self-Portrait) of 1910 (Fig. 1). O¨ sterreichs (Vienna: Secession, 17 January to 3 Modern Art: Being a Contribution to a New System of Aesthetics February 1903). For an assessment of the impact Meier-Graefe’s of this exhibition see Robert Jensen, Marketing was published six years before the self-portrait’s production. Meier-Graefe’s Modernism in Fin-de-Sie`cle Europe (Princeton influence in Vienna’s modernist circles through his curatorial work for the University Press: Princeton, NJ, 1994). Secession during Schiele’s formative years raises the interesting question of 3. See Griselda Pollock, Avant-Garde Gambits how self-consciously Schiele fashioned himself as ‘The New Vienna’ so 1888–1893: Gender and the Colour of Art History described by the art critic.2 It is fascinating that this question has – (Thames & Hudson: London, 1992). For a however – been somewhat avoided in the Schiele scholarship, with art further discussion of the variant strategies used by Vienna’s young artists to launch themselves historians hanging back from tying his self-portrait project into wider 3 out of the Academy see Gemma Blackshaw, debates on the canny strategising or ‘gambits’ of the avant-garde. ‘The Jewish Christ: Problems of The question of what caused Schiele’s turn to the self-portrait genre, and the Self-Presentation and Socio-Cultural Assimilation in Richard Gerstl’s attendant dramatic shift in style and aesthetic, has certainly fascinated scholars. Self-Portraiture’, Oxford Art Journal, vol. 29, However, the persistence of the modernist legacy – with its emphasis on no. 1, pp. 25–51. the artist-individual and their ‘pain’, ‘anxiety’ or ‘exclusion’ as badges 4. See, for example, Alessandra Comini’s of authenticity – can be clearly read in their variant explorations of the 4 seminal Egon Schiele’s Portraits (University of question. With remarkably few exceptions, the tendency is to emphasise California Press: Los Angeles and London, Schiele as a traumatised individual who used the self-portrait as a means of 1974). Comini’s chapters, entitled ‘The Radical articulating angst.5 Such a notion is admittedly made compelling by his Portraits and Self-Portraits – Into the Void’, and ‘Isolation and Thematic Absorption in the imprisonment in 1912 on (unsubstantiated) charges of sexual immorality and Self’, are structured around Schiele’s biography, the seduction of a minor, and the mental decline and death of his father from with shifts in subject matter and style being syphilis. However, this personal history, along with Schiele’s early death in linked to personal, as opposed to cultural wunderkind change. She argues: ‘There is now no interest in 1918 at twenty-eight-years old, has driven a cult of the anguished indicating the artist’s connection with his work, which negates the influence of a cultural context. Schiele’s self-portraits have 6 with another artist, or with society. The thus tended to occupy a space outside of culture, accessible only through a content is self; there is no frame of reference form of retrospective psychoanalysis. As Danielle Knafo writes: except self’ (p. 50). Similarly, Patrick Werkner writes: ‘In Schiele’s painting we are confronted with images that grow out of a very private As a consequence of his adverse childhood experiences, Schiele’s was a lifelong journey in creative mythology of the subconscious mind. which he searched for his lost parents in himself and for his lost self in his art. Art Even those letters of the artist in which he represented a substitute for his frustrating and lost objects and his perpetual use of supplies explanations or information on the self-portraiture proved a constructive means of mastering these losses ... Like a patient in content of his pictures can provide us with little psychoanalysis, he deconstructed his self-image in order to reconstruct it anew. He employed more than general orientation, and indeed his art as a corrective emotional experience whereupon he repeatedly nurtured, and reflect a highly intuitive kind of apparently repaired, a battered psyche.7 self-interpretation’; Patrick Werkner, Austrian Expressionism: The Formative Years (Society for the This article will explore an alternative reading, one that will argue that Schiele’s turn to this particular genre, style and aesthetic at this particular # The Author 2007. Published by Oxford University Press; all rights reserved. OXFORD ART JOURNAL 30.3 2007 377–401 doi:10.1093/oxartj/kcm020 Gemma Blackshaw Downloaded from https://academic.oup.com/oaj/article/30/3/377/1609081 by guest on 01 October 2021 Fig. 1. Egon Schiele, Seated Male Nude (Self-Portrait), 1910, oil and gouache on canvas, 152.5  150 cm. Leopold Museum, Vienna. 380 OXFORD ART JOURNAL 30.3 2007 The Pathological Body moment was a strategic move, showing his astute awareness of market taste and dynamics. I hope to show that Schiele’s self-representation was not an ‘inward-looking’ art practice. Rather, it was a practice that was geared Promotion of Science and Scholarship: California, 1993), p. 126. specifically towards a local art market. Seated Male Nude (Self-Portrait) put a formal distance between Schiele and Klimt, in its embrace of the 5. The exception to this is Robert Jensen, who argues that, ‘alienated artists, like Egon Schiele, self-portrait genre, and its rejection of the ornamented passive/erotic would have learned by 1910, if not long before, bodies of what was being criticised as an increasingly feminised Secessionstil 8 that alienation sells, that to be alienated was as visual culture. Such a departure, considering the waning popularity of the much a role, a way of establishing a professional Secession, was timely and quickly attracted an interested group of almost identity, as occupying a position in the academy’. Jensen, Marketing Modernism, p. 10. exclusively male patrons and collectors. The self-portrait – measuring  152.5 150 cm – was part of a series of five that included a further two Downloaded from https://academic.oup.com/oaj/article/30/3/377/1609081 by guest on 01 October 2021 6. Interestingly, this is not the case with nude images of Schiele, all of which were completed in 1910 (see Figs 2 Schiele’s rival Oskar Kokoschka. Kokoschka’s 9 portrait-project has recently come under and 3). They were the largest paintings Schiele had so far produced. scrutiny, with scholars highlighting its Interestingly, the only painting from the group to be exhibited to the self-conscious, derivative and strategic nature. public was a female nude, shown in Vienna in 1910 – a move which See, for example, Tobias G. Natter (ed.), Oskar perhaps illustrates a concern about audience reactions to Schiele’s Kokoschka: Early Portraits from Vienna and Berlin 10 1909–1914 (Yale University Press: New Haven representation of the male body. Nevertheless, all three of the & London, 2002); Claude Cernuschi, Re/Casting self-portrait paintings, and at least one of the two female nudes were Kokoschka: Ethics and Aesthetics, Epistemology and bought in the same year by the industrialist Carl Reininghaus. Moreover, Politics in Fin-de-Sie`cle Vienna (Associated University Presses: New Jersey, London & Schiele remarked in a letter of 11 June 1913 that Reininghaus had paid Ontario, 2002); Blackshaw, ‘Breaking the highly for the works, giving 1200 kronen for just one of the ‘unappealing’ Mould?’, review article of Cernuschi, Re/Casting paintings.11 Schiele’s bodies clearly had market value. I would like to Kokoschka, Art History, vol. 27, no. 22 April argue even further that the particular type of body Schiele chose to take on 2004, pp. 335–40; Blackshaw, ‘The Eye of God?’, review article of Natter (ed.), Kokoschka: as his own effectively enabled the artist to launch himself into Vienna’s Early Portraits, Art History, vol. 26, no. 1, narrowly circumscribed and competitive art market. February 2003, pp. 127–9. The key area I aim to explore is what made this self-portrait so marketable? 7. Danielle Knafo, Egon Schiele: A Self in Creation Where did the ‘new’ aesthetic of the body come from, and what was the (Associated University Presses: Cranbury, New nature of its appeal? In contrast to studies which stress the Jersey, 1993), p.
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