英语论文网

n works by Klimt, who was deemed controversial at the time, there are still elements of decorative palatability that makes his work visually and aesthetically appealing. Schiele seems to be deliberately working against this formula; which was brave considering that art, at the time, depended on patronage and buyers to actually sustain a profit. Schiele didn't seem concerned in the slightest that his work wouldn't get a buyer. In fact, the market is abandoned almost completely.

In Schiele's early work, art becomes “ugly”; his figures are pallid and atrophied; the composition of the pieces are unconventional and thus attack the sensibilities of the audience. Upon his break from Vienna's Academy, and much akin to Klimt, whom he admired and painted on a number of occasions, Schiele set up his own group, entitled simply, “The New Art Group.” This was similar to Klimt's route, as he set up the Viennese Secession, of which Schiele would play a part, which came from and used the tried and tested formula of the Genossenschaft betdender Kunster Wiens (Vienna Society of Visual Artists), a project financed by Emperor Franz Josef as a means of promoting art in the city. However, this system was not without its drawbacks. “It's progressive potential was […] undermined by a policy of majority rule, which generally granted victory to the conservative faction.

Within this context, the society's role as dealer was particularly disturbing to the younger, more forward-thinking minority, from whom exclusion from major exhibitions could have adverse financial consequences.” Similarly, the capitalist nature of art, coupled with the conservatism of the market made for a very difficult time for the progressive artist, and perhaps was a reason behind why Schiele opposed the artistic community with such fervency and vitriol, and often resorted to shock tactics and self-publicity to get himself heard. Klimt's Secession operated on similar principles to the Vienna society: “…the Secession […] was principally a marketing agent for its members work.”

Thus, again it proved difficult for the younger, more radical artists to break through, despite Klimt's support. Later, funds from patronage dwindled, so it was necessary for artists to seek out new markets. “The withdrawal of official patronage pre-empted the Secessionists to seek new ways of generating the sales and commissions necessary to keep them in business.” Ultimately, this meant that socialist, and personal art became more prominent a theme. The monumental, allegorical themes that Klimt and Schiele tended to attack (although Schiele's work was deeply personal, it was also very monumental and took a number of influences from Klimt and symbolist art), no longer had a substantial market.

Klimt's decorative style, coupled with his established name, could still sell work to his established clients. Schiele, however, had no such luck, and it was only in 1918, the last year of his life, that Schiele managed to break even with his work. Although Schiele did not seem overly concerned with the economic potential of his works; in fact, he even seemed to equate poverty and suffering to the role of an artist in general, and Schiele was probably one of the most uncompromising artists of the twentieth century in terms本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。