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, or playing the varying roles of artist to gratify his ego. This is interesting because Schiele was definitely working toward a specific identity as artist. In 1912, Schiele was arrested for three days for publishing obscene works where they could be displayed to children. An item of his work was subsequently burned in the courtroom. In prison, he creates a number of interesting works of art, that are especially interesting because their titles read like manifestoes. Titles such as Hindering the Artist is a Crime, It Is Murdering Life in the Bud! (1912), For Art and for My Loved Ones I Will Gladly Endure to the End! (1912), and Art Cannot Be Modern: Art Is Primordially Eternal (1912). Certainly, judging from these titles, Schiele definitely has a number of ideas regarding the artist, his specific role, and what separates a true artist from a charlatan.

Schiele, in his highly polemical, hyperbolic painting titles, equates the artist with suffering and martyrdom, suggesting that he will “endure”, and immediately glorifying the artist as a giver of life and eternal well being to the masses. Schroeder goes on to say: “Behind these works lies the idealization of suffering in the Romantic cull of genius, as updated in the last years of the nineteenth century through the writing of Friedrich Nietzsche and through the posthumous response to Arthur Schopenhauer. […] The turn of the century saw the apogee of the Artist-as-Martyr legend, in which the relationship between suffering and greatness draws so close that the pose of suffering may in itself constitute a claim to the higher grades of artistic initiation.”

So, the implication here is that Schiele was indeed acting a specific role of artist, that he was assuming a specific “pose of suffering” that was in many ways an act of fulfilling his societal role as an artist. Certainly these roles of suffering were explicit in his work. In Self-Portrait Standing (1910), Schiele portrays himself as contorted and thin; his face is twisted into an ugly grimace, and the colours used are mottled, pale and rotten. 

His arms are deformed and his positioning is unnatural and forced. His eyes are hollow and there is no context to the portrait; the background is a simple cream colouring. To exaggerate his alienation yet further, Schiele highlights his body with a shock of white. This has the effect of drawing the subject even further out of his environmental world, and, along with the forced hand gestures, serves to make us see the subject as an exhibit, rather than as part of a natural world. As Schroeder points out: “On the white expanse of paper, they do not exist: they are exhibited.”

In his principal work, Hermits (1912), he paints himself with Gustav Klimt, whose own break with neoclassicism and ornate style of expressionism was a major influence on Schiele's early work. Klimt is seen as asleep, or else resting on the shoulders of Schiele, who stands in front of him in a large black cloak. Mitsch suggests that in Hermits, “[s]eldom has the human body been visualised so exclusively as a materialization of spiritual forces […].” But the painting is called Hermits, which suggests something about the role of artist that Schiele observed, although the painting certainly displays elements of the s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。