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Relatório Do Exame De Qualificação UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES ANA CAROLINA ROBIN DE OLIVEIRA EGON SCHIELE E O CONCEITO DE DEGENERAÇÃO NA ARTE MODERNA CAMPINAS - SP 2016 ANA CAROLINA ROBIN DE OLIVEIRA EGON SCHIELE E O CONCEITO DE DEGENERAÇÃO NA ARTE MODERNA Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestre em Artes Visuais (Fundamentos teóricos). ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DISSERTAÇÃO DEFENDIDA PELA ALUNA ANA CAROLINA ROBIN DE OLIVEIRA E ORIENTADA PELA PROFA. DRA. LUCIA HELENA REILY CAMPINAS – SP 2016 2 3 4 Dedico este trabalho ao meu noivo, pais e irmão. 5 Agradeço à família pelo apoio incondicional em todos estes anos, À Profa. Dra. Lucia Reily, por sua dedicação e respeito por este trabalho, Aos amigos de dentro e de fora da Universidade, Aos Professores do Programa de Artes Visuais do Instituto de Artes e ao Prof. Mauro Cardoso Simões da FCA Unicamp, por seus ensinamentos e gentileza, Aos Professores Marco Antonio Alves do Valle e Christiane Wagner por suas contribuições no exame de qualificação, Aos alunos e equipe do SESI 340, pelo apoio e incentivo, Aos membros do Museu Lasar Segall, por suas informações e acolhida. 6 Resumo A dissertação trata sobre a obra do artista austríaco Egon Schiele (1890-1918) e o processo póstumo de avaliação de sua obra como degenerada pelo regime nazista no contexto da ascensão do Nacional-Socialismo, período no qual diversos artistas modernos foram perseguidos na Europa e tiveram obras confiscadas, entre outras razões, porque os trabalhos artísticos não se enquadravam no ideal estético do regime. Depois de situar historicamente o trabalho e formação de Schiele e seus pares, a pesquisa investiga duas importantes listas de documentação sobre a Entartete Kunst e discute as divergências de informações entre as listas e as biografias sobre o artista. Buscou-se dados sobre a aquarela Autorretrato, obra produzida entre 1910 e 1912 por Egon Schiele, e que chegou ao Brasil durante a fuga de famílias judaicas da Europa nazista, atualmente localizada por comodato no Museu Lasar Segall. Para melhor compreender os discursos e critérios de censura do período, foi realizada análise visual de três autorretratos de Emil Nolde, Oskar Kokoschka e Lasar Segall, artistas contemporâneos de Schiele também enquadrados pelos nazistas como artistas degenerados, em diálogo com a análise do Autorretrato de Schiele. Essa análise comparativa abre espaço para falar sobre o grotesco e o erótico como pontos estéticos para marcar a obra de Schiele como degenerada, ao mesmo tempo que acrescentou aos seus trabalhos valor comercial e de colecionismo. Palavras-chave: Egon Schiele, 1890-1918; Expressionismo (Arte); Nazismo e arte. 7 8 Abstract The dissertation deals with the work of the Austrian artist Egon Schiele (1890-1918) and the posthumous process of rating of his work as degenerated by the Nazi regime in the context of the rise of National Socialism, a period in which several modern artists were persecuted in Europe and had works confiscated, among other reasons, because the artistic works did not fit the aesthetic ideal of the regime. After historically situating the work and studying by Schiele and his peers, the research investigates two important lists of documentation on Entartete Kunst and discusses the divergences of information between lists and biographies about the artist. Data on the watercolor Self-portrait, a work produced between 1910 and 1912 by Egon Schiele, was sought and arrived in Brazil during the flight of Jewish families from Nazi Europe, currently located by lending at the Lasar Segall Museum. To better understand the discourses and censorship criteria of the period, a visual analysis of three self-portraits of Emil Nolde, Oskar Kokoschka and Lasar Segall, contemporary artists of Schiele, who were also framed by the Nazis as degenerate artists, in dialogue with the analysis of the Schiele’s Self-portrait. This comparative analysis opens space to talk about the grotesque and the erotic as aesthetic points to mark Schiele's work as degenerate, while at the same time adding to their work commercial value and of collectivism. Keywords: Egon Schiele, 190-1918; Expressionism (Art); National socialism and art. 9 Lista de ilustrações Figura 1. Fotografia da vista frontal do prédio da Secessão. Autor e data desconhecidos ___________________________________________________________________________ 26 Fonte: BOSTON COLLEGE. Disponível em: < http://www.bc.edu/bc_org/avp/cas/fnart/arch/19thc/vienna_secess2.jpg> Acesso em: 05 ago. 2016. Figura 2. Egon Schiele em seu ateliê. Autor desconhecido, 1917 _______________________ 37 Fonte: BR KULTUR. Egon Schiele. Disponível em: <http://www.br.de/themen/kultur/inhalt/kunst/egon-schiele-leben100.html> Acesso em 16 out. 2016. Figura 3. Retrato de Bertha von Wiktorin. Egon Schiele, 1907 _________________________ 39 Fonte: PAINTING STAR. Portrait of Bertha von Wiktorin. Disponível em: <http://www.paintingstar.com/item-portrait-of-bertha-von-wiktorin-s166408.html > Acesso em 05 out. 2016. Figura 4. De cima para baixo: Espíritos aquáticos I. Egon Schiele, 1907; Serpentes da água II. Gustav Klimt, 1904 ___________________________________________________________ 43 Fonte (Schiele): FIRST ART GALLERY. Water sprites. Disponível em: <http://www.1st-art- gallery.com/Egon-Schiele/Water-Sprites-II.html> Acesso em: 15 out. 2016. Fonte (Klimt): STEINER, 2006, p. 26. Figura 5. Autorretrato feito na prisão. Egon Schiele, 1912 ____________________________ 45 Fonte: FISCHER, 2007, p. 31. Figura 6. De cima para baixo: Morte e donzela. Schiele, 1915; A tempestade. Oskar Kokoschka, 1914_______________________________________________________________________ 49 Fonte (Schiele): STEINER, 2006, p. 71. Fonte: WIKIART. Bride of the wind. Disponível em: < http://www.wikiart.org/en/oskar- kokoschka/bride-of-the-wind-1914> Acesso em 05 out. 2016. Figura 7. Da esquerda para a direita: Retrato de Max Oppenheim, Egon Schiele, 1910. Retrato de Egon Schiele, Max Oppenheim, c. 1910 ___________________________________________ 50 10 Fonte (Schiele): WIKIART. Portrait of the painter Max Oppenheim. Disponível em: < https://www.wikiart.org/en/egon-schiele/portrait-of-the-painter-max-oppenheimer-1910> Acesso em 20 set. 2016. Fonte (Oppenheim): LESSING IMAGES. Oppenheim, Max (MOPP). Disponível em: < https://www.lessingimages.com/viewimage.asp?i=40170538+&cr=11&cl=1> Acesso: 03 set. 2016. Figura 8: Retrato de Pais von Gütersloh. Egon Schiele, 1918 _________________________ 55 Fonte: FISCHER, 2007, p. 143. Figura 9. Cenas gravadas de Pass the Blut Wurst, Bitte. John Kelly, 2010 ________________ 58 Fonte: JOHN KELLY PERFORMANCE. Pass the Blut Wurst, Bitte. Disponível em: < http://johnkellyperformance.org/wp2/performances/pass-the-blutwurst-bitte-2010> Acesso em: 10 ago. 2016. Figura 10. Egon Schiele. Al Farrow, 1990 ________________________________________ 59 Fonte: AL FARROW. Egon Schiele. Disponível em: < http://www.alfarrow.com/egon- schiele.html> Acesso em 04 abr. 2016. Figura 11. Egon Schiele em 1914 e David Bowie em 1977. Anton Peschka, 1914; Masayoshi Sukita, 1977 ________________________________________________________________ 59 Fonte (Schiele): THE IMPROPER. Egon Schiele paintings at Center of Lawsuit over plundered Nazi art. Disponível em: <http://www.theimproper.com/art/2581/egon-schiele-paintings-lawsuit- nazi-art> Acesso em: 10 set. 2016. Fonte (Bowie): WIKIPEDIA. Heroes. Disponível em: < https://en.wikipedia.org/wiki/File:David_Bowie_-_Heroes.png> Acesso em 28 ago. 2016. Figura 12. Obras finalizadas e uma das peças em processo criativo. Lucretia Schmidt, data desconhecida ________________________________________________________________ 60 Fonte: LUCRETIA SCHMIDT. Egon Schiele. Disponível em: < https://lucretiaschmidt.carbonmade.com> Acesso em: 15 set. 2016. Figura 13. Mathieu Carrière como Egon Schiele em Excesso e punição. Reprodução do filme em dvd, 2016 __________________________________________________________________ 61 Figura 14. John Malkovich e Nikolai Kinski em Klimt. Reprodução do filme em dvd, 2016 ___________________________________________________________________________ 61 11 Figura 15. Órbita de 11338 Schiele, exterior à órbita de Marte. Site Planety, 2016 ___________________________________________________________________________ 63 Fonte: PLANETY. 11338 Schiele. Disponível em: < http://planety.astro.cz/planetka-11338> Acesso em 24 ago. 2016. Figura 16. Performance inspirada em Egon Schiele. Divulgação, 2005 ___________________ 63 Fonte: AZIZBEKKAOUI. Egon Schiele/Marina Abramovic/De Chatel. Disponível em: <http://www.azizbekkaoui.com/arts/egon-schiele-van-gogh-museum> Acesso em: 07 set. 2016. Figura 17. Retrato de Wally Neuzil. Egon Schiele, 1912 ______________________________ 64 Fonte: FISCHER, 2007, p. 26. Figura 18. Autorretrato. Egon Schiele, 1910/1912 __________________________________ 66 Fonte: MUSEU LASAR SEGALL, 2011, p. 7. Figura 19. Paleta de cores decomposta em Autorretrato ______________________________ 68 Figura 20. Da direita para esquerda: Assinatura e data. Símbolo e faixas de clareamento nas margens ___________________________________________________________________ 69 Figura 21. Detalhe de Autorretrato com destaque para os pontos de desgaste da obra ___________________________________________________________________________ 69 Figura 22. Nu masculino sentado. Egon Schiele, 1910 _______________________________ 72 Fonte: FISCHER, 2007, p. 165. Figura 23. Autorretrato
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