Egon Schiele

#1. A Prodigy with a Dark Edge. At the age of sixteen, Schiele was admitted to the Vienna Academy of Fine Arts. Unquestionably talented from an early age, he quickly distinguished himself from his contemporaries with a daring, eerie style that sparked both acclaim and criticism.

#2. Gustav Klimt’s Protégé. Gustav Klimt was Schiele's teacher and a major influence. But he soon abandoned Klimt's ornamental approach, choosing instead to focus on the untamed, twisted forms and powerful psychological issues that would characterize his own Expressionism.

#3. Scandal and Arrest. Schiele was arrested in 1912 as a result of his contentious portrayals of nudity, especially involving young models. His rebellious reputation was further enhanced when he was accused of "public immorality" and some of his works were even confiscated and destroyed.

#4. Incredible Output in a Short Life. Schiele's career was unfortunately short; he died at the age of 28 during the Spanish flu epidemic. Despite this, he left behind over 3,000 items, demonstrating his unwavering drive and enthusiasm for creation.

#5. A Master of Self-Portraits. Schiele created numerous self-portraits, frequently depicting himself in dramatic, nearly distorted stances. These works were a dramatic departure from typical self-portraiture, and are regarded as among the most contemplative and unflinching of his day.

Portrait of Wally (1912) - sold for $135 million in 2010; current estimates exceed $150–200 million.

Seated Woman with Bent Knee (1917) - sold for $40.1 million in 2013; current estimates exceed $50–70 million.

Houses with Colorful Laundry (1914) - sold for $22.4 million in 2011; current estimates exceed $30–50 million.

Death and the Maiden (1915) - not for sale, considered priceless; displayed in the Belvedere Museum, Vienna.

The Family (1918) - not for sale, considered priceless; displayed in the Belvedere Museum, Vienna.

"Schiele’s art is raw, emotional, and unfiltered, offering a glimpse into the human psyche." Critic, Marie Hoffmann

"His unique style captures the tension and fragility of the human condition." Art historian, Hans Wagner

"Schiele’s genius lies in his ability to convey intensity and vulnerability in every stroke." Scholar, Anna Schmidt

"The boldness of Schiele’s compositions challenges and inspires viewers to look deeper." Curator, Thomas Bauer

"Schiele’s works are a testament to his fearless exploration of identity and emotion." Critic, Laura Köhler

Leopold Museum, Vienna — the largest Schiele collection in the world.

Belvedere Museum, Vienna — major oils including The Family and Four Trees.

Albertina, Vienna — extensive drawings collection.

Museum of Modern Art, New York — Seated Woman with Bent Knee (drawing).

The Metropolitan Museum of Art, New York.

National Gallery, Prague — important Schiele oils.

Angular, jagged lines describing bodies with a tension bordering on violence. Figures contorted, fingers splayed, joints emphasised. Raw, unblended colour applied in broken touches over bare paper or thin canvas. Frequent nude self-portraits painted with unflinching honesty. Backgrounds often left empty or painted in a single colour so the figure seems to float in isolation. In landscapes, fields and villages drawn as rhythmic linear patterns, far from traditional pictorial depth.

Klimt’s Protege (1906–1909): Studied at Vienna Academy; briefly influenced by Klimt’s decorative gold style.

Expressionist Breakthrough (1910–1912): Developed his signature angular figuration; a brief imprisonment in 1912 over alleged immorality.

Mature Period (1913–1918): Greater structural ambition in both portraits and landscapes.

Sudden End (October 1918): Died of Spanish flu at 28, three days after his pregnant wife.

“Art cannot be modern. Art is primordially eternal.”

Schiele was above all a draughtsman, and his unforgiving lines betray any hesitation instantly. Hands, feet and joints are exaggerated with a confidence that is very hard to imitate without becoming caricature. Colour is applied sparingly on most works — often broken strokes over raw ground — meaning a reproduction painter cannot hide behind rich painted surfaces. His emotional intensity comes from what is left visible of the paper or canvas beneath, and copying a Schiele badly produces either a stiff academic drawing or a wild mess, almost never the electric nervous energy of the originals.