英语论文网

piritual; as Steiner suggests, “he presents the master and himself in a picture where two male figures in monklike garb and with aureoles about their heads are seen on a monumental plinth.” In Hermits, Schiele and Klimt both look glum; Schiele stares defiantly back through the painting.

The vast black cloak serves to homogenize the body of Klimt and Schiele, and thus portrays the role of the artist in general as one of blackness, of a biblical darkness. But, the title is more secular: Steiner goes on to say that: “We see Hermits (as the painting is called) and not saints, and the tone is no longer mystical and remote but one of delicate equilibrium between the two men – the elder, Klimt, deathlike, and the younger, Schiele, looking grim, doubtless because the artist leads a solitary life, condemned by society to suffer.”

So, Schiele, in a very modernist way, is simultaneously divorcing himself from the establishment of the religious school of Neoclassicism, but is also contemporising it. In similar ways that Freud brought scientific rigour, and secular practice into studies of the human psyche, Schiele was in turn taking religion out of mystical, allegorical artwork, and instead putting himself into it. This artistic position, as forerunner to Klimt, in a sense, emerging from the body of Klimt, but staring out defiantly and uniquely, epitomizes Schiele's position. Steiner suggests that: “At the time that he painted Hermits, Schiele was already seeing himself as a kind of priest of art, more the visionary than the academician, seeing and revealing things that remain concealed from normal people.”

2. The Artist-As-Protean

The ambiguity with which Schiele forges his own identity can also be seen in a different way. The variance between different forms of self-portrait merely represent different sides of the Schiele character. This would certainly fit into the Freudian notion of self – as a stigmatized, fragmentary and anarchic collection of different preconceived notions. For instance; Freud's basic notions of Id, Ego and Super-Ego serve to fragment the self – psychoanalysis in general serves to this effect, and, in a number of Schiele self-portraits, he uses the quite unusual system of the double portrait to encapsulate this fragmentation. Fischer makes the point that “[t]he familiar repertoire of Freudian psychology with its ego and super-ego, conscious and unconscious realms, might equally be applied to these dual self-portraits.”

A great deal of photography of Egon Schiele (of which a great deal exists) utilizes the effect of double exposure, thus, a doubling of the self. In one untitled photograph of Egon Schiele , he is seen firstly staring into the distance, while another image of himself looks back, observing himself intently. Steiner says that: “Schiele countered the sensory fragmentation of the self by means of a multiple self which came little by little to form a visual concept which reconstituted his unity with the world in a visionary way.” Indeed, during the time when expressionism was most active, a serious redefinition was underway, on the secular, theoretical grounds of Nietzsche and Freud, and also due to the cataclysmic human and social catastrophe of the Great War. In Hermann Bahr'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。