Reclining Nude with Green Stockings From Zeichnungen By Egon Schiele

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About the Item

Zeichnungen 1917 Vienna, Richard Lányi, Editor-Publisher Max Jaffe, Printer Plate VI of 12 collotypes in a limited edition of 400 Zeichnungen appeared in a string-tied cardboard portfolio that featured a collotype portrait of Schiele on the front panel. The justification page of each portfolio was signed and numbered by Schiele. As stated on the justification page, the collotype plates were destroyed after the edition was printed. Zeichnungen’s twelve monochromatic collotypes reproduce original watercolors in both vertical and horizontal formats. Half of the prints depict female models, either nude or partially clothed. Of these, only three are salacious in the style that made Schiele’s erotica so marketable to his circle of collectors but impeded posthumous appreciation of his artistic achievement. These are Reclining Nude with Green Stockings, Two Girls Lying Entwined, and Kneeling Female Semi-Nude. The mostly-clad figure in Seated Woman with Bent Knee seems restrained by comparison, excepting the pose that highlights her genitals. Torso belongs to a group of radical figure studies executed by Schiele in 1913; cropping of the figure places these works within a special category of compositional experimentation. The muscular Female Nude, Backside borders on Michelangelesque androgyny. The remaining six prints are biographical in nature, even if in an elliptical way. Standing Male Nude with Red Loincloth reflects the influence of George Minne’s sculptures of adolescent boys, yet is simultaneously inward and monumental. In contrast, the portfolio cover image - Self-Portrait with Raised Right Hand - shows the artist confronting his audience with the contorted hand that is central to his iconography. The origins of this gesture are 29 30 complex. It is partly derived from Klimt, who borrowed it from the Dutch Symbolist Jan Toorop. Yet Schiele raised the motif beyond a decorative level, incorporating it into his method of representing extreme psychological states through somatic gestures. Schiele undoubtedly saw similar hands in the impoverished street children he used as models, or in medical literature that illustrated “nervous” disorders. Books like Klinischer Atlas der Nervenkrankheiten widely disseminated images of such deformities throughout German-speaking countries [see Figures 1 and 2]. While it is not known if Schiele actually saw these images, he transformed the elegant hand gestures of Toorop and Klimt into a semaphore of psychic distress and acute self-consciousness. Schiele’s portraits of his wife - Woman with Greyhound (Edith Schiele) and The Artist’s Wife Seated - are respectively sweet and neutral, far cries from portraits that vividly capture Edith Schiele’s deep unhappiness. One-Year Volunteer Private and Portrait of a Russian Soldier date from Schiele’s military service in Mühling (1915-16), where he worked as an army illustrator. Portrait of a Child (Anton Peschka, Jr.) also resonates with personal feeling, considering that a close personal friend and supporter fathered the infant. Lányi published Zeichnungen in June 1917. It quickly sold out, providing Schiele with much-needed income. The balance between portrayals of female models and autobiographical subjects can partly be explained by Schiele’s infamous 1912 encounter with censorship (see Introduction). Sexually charged images appear in Zeichnungen, and owe their existence to the permissive attitude taken by Austrian officials towards “specialty” materials like privately circulated artists’ portfolios. But the equal number of portraits shows that by 1917 Schiele was entering a new phase of personal development. Although his marriage to Edith Harms had failed, it demonstrated Schiele’s desire to abandon his prolonged adolescence and assume his place in society as a successful artist. In the year and half before his untimely death, Schiele secured new commissions for ambitious large-scale oil paintings, a step towards achieving the success embodied by his idol, Gustav Klimt. Zeichnungen suggests the new direction that Vienna’s most notorious visual artist hoped to take in years to come.

Creator:
Egon Schiele (Designer)
Dimensions:
Height: 12.5 in (31.75 cm)Width: 18.75 in (47.63 cm)
Style:
Expressionist (Of the Period)
Place of Origin:
United States
Period:
Early 20th Century
Date of Manufacture:
1917
Condition:
Seller Location:
New York, NY
Reference Number:
Seller: SCE0461stDibs: LU9051761470

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