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Egon SchieleOttokar Mascha Folio, plate 18: "Shaw Oder Die Ironie Poster" by Egon Schiele1915
1915
$6,200
£4,761.33
€5,456.43
CA$8,728.07
A$9,777.37
CHF 5,094.90
MX$119,263.68
NOK 64,744.48
SEK 61,049.43
DKK 40,725.30
About the Item
after EGON SCHIELE (1890-1918) SHAW ODER DIE IRONIE POSTER, C. 1912, (In Mascha, no. 18) Schiele’s poster is an advertisement for a lecture to be given by Egon Friedell (1878-1938). A prominent member of Viennese artistic society, Friedell published works of historic and philosophical nature as well as theatrical criticism. He was the artistic director of Cabaret Fledermaus. Schiele’s bold, expressive line set against a red-hot ground creates a vivid fascial form of communication. The poster art form provided a platform for a new language of announcement. Schiele’s is a visual voice. His announcement is an audacious declaration. This sign, without context, is literally frozen in an instant; one must attend Friedell’s lecture to gain access to its content and meaning. Schiele uses gesture to grab one’s attention and deftly exploits the graphic medium to additionally punctuate this via the intense unprinted whites of the eyes and mouth to convey the nature of a live lecture: it is to be heard and seen.
OTTOKAR MASCHA (1852-1929), OSTERREICHISCHE PLAKATKUNST, 1915, J. Lowy Printer, in an edition of 230.
Austria’s foremost collector of poster prints, Ottokar Mascha amassed one of the largest international graphic art collections of the time. He was an active member in poster-collecting societies, and he gave generously to educational and other public institutions. In many cases, examples found in his collections were the sole survivors of an ephemeral medium whose delicate papers could not hold up over time to the damaging effects of animal glue, weathering, and other wear and tear from excessive handling. Mascha recognized that posters were not only cultural documents, but works of art. He devised ways to obtain pristine examples for his collection often through the police with whom posters needed to be submitted for approval prior to being hung in public. As Mascha explains in the forward and introduction of Plakatkunst, he saw a need in Austria for developing and promoting the poster as an artistic medium. His aims in publishing Plakatkunst were lofty; Mascha hoped to educate new and aspiring Austrian artists by exposing them to the possibilities the poster medium offered, and he hoped to develop a broader collector base through connoisseurship. His carefully selected examples of posters from his collection are archives of a nearly lost time. Preserved within this rare printed work are contextual links to Austria’s interconnected modern arts culture of which the Vienna Secession played a central role. Like the members of Vienna’s Secession, Mascha believed that modernity required a new definition of Art and that old hierarchical notions were out of touch. Creating a leveling force in the arts, where graphic and applied arts are valued equally as painting, sculpture and architecture, was an over-arching goal many were grappling to achieve at this time. He also shared the belief that, whether native or adoptive, there was, indeed, an Austrian sensibility whose zeitgeist he wanted to capture and preserve. For him, it was a question of accessibility. Today, bombarded as we are with digital and graphic images and their instant access we have literally at our fingertips, it is easy to forget that 100 years ago this was simply not the case. Plakatkunst, was, and is, an invaluable resource; it is a bold statement which continues to resound that the artistic merit of successful posters will stand the test of time.
- Creator:Egon Schiele (1890-1918, Austrian)
- Creation Year:1915
- Dimensions:Height: 15.25 in (38.74 cm)Width: 11.5 in (29.21 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Chicago, IL
- Reference Number:1stDibs: LU467314042652
Egon Schiele
Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition.
Part of the first wave of Austrian modernism, Schiele was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body.
Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms.
Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define modernism but also because it revealed the dark and immutable aspects of the human condition. As Schiele said, “Art is primordially eternal.”
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(Biography provided by Galerie Fledermaus)
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