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of pandering to a particular audience; it is nevertheless important to consider Economics, social and cultural conditions because, Schiele, by setting himself and his role as an artist in direct opposition to the establishment, also put himself in the long-standing tradition of artist in opposition to mainstream society. Kallir points out that:

“The Secession, the Galerie Muethke, and the Wiener Werkstatte [, the latter two being establishments set up in the wake of the gradual reduction of patronage funds and a need to find and establish new markets for art], in the formative first decade of this century were peculiar products of their times that shared common aspirations and limitations. It was important to all concerned that these entities, although ostensibly committed to marketing art, were artist-run.” So, although Economics were a concern in art, they were not necessarily, as dictated previously with the majority run Vienna Society of Visual Artists, primarily about making money and transforming the Viennese art scene into a profitable industry. Economics was an incidental concern, only foisted upon the establishment by chronic necessity: “The artists evinced a tacitly accepted loathing for art-as-business (Schiele could be particularly eloquent on this point) and a determination to place aesthetic considerations above economic ones.” So, as is fairly obvious from the art that he made, Schiele was against the motive of making money from art.

But this reveals an interesting contradiction that plagued expressionist and other, later artists seeking to make a living from art at the same time as challenging the social and economic processes that ultimately fund its creation: “[I]f the primary goal [of these entities] was to serve the artistic community, these organisations could not entirely ignore their secondary purpose: to sell art.” So, Schiele, like many other artists, was cut between a requirement for money (which was especially apparent now that the former staple of patronage monies had all but dried up), and a requirement to express uncompromisingly his artistic expression. Schiele would not settle for the former, and instead pursued the latter with a vigour and an intensity that, at the time, was quite extraordinary.

Schiele and Self-Portraiture.

Of all the artists in the 20th century, or indeed any century, Egon Schiele was probably one of the most self-conscious. But, in Schiele, the self is a very problematic subject. Schoeder suggests: “In his self-portraits, Schiele shows himself as wrathful, with a look of spiritual vacancy, or as if racked by a severe spasm of hysteria; or arrogantly looking down his nose, with head tossed back; or apprehensively or naively peering out of the picture. Which Schiele is the real Schiele?” Schiele seems to instinctively divide himself into differing components, but also, he uses art to singularly pursue his own political views of the role of artist, in many ways using self-portraiture to assert, rather than fragment his own personality.

The ambiguity with which Schiele regards himself can be looked at in a number of ways.

1. The Artist-as-Martyr

It could be argued that Schiele was simply posing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。