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埃贡·席勒已经超越了他所处的时代了吗?还是仍然与时代紧紧相连?埃贡·席勒是表现主义大师还是实践主义色情文学作家，亦或是有恋童癖的另类艺术家?他的画常常带来出人意料的效果，令人难忘，那么在这些画后面的巨大驱动力是什么?是那些裸体模特还是自画像?在当今世界，经济、社会、个人都会对他的艺术创作产生巨大影响，他自身所处的时代和环境正是他灵感的来源，使他可以发现另类的自己，这是一个艺术家独特的创作动力。

前言

1912年古龙香水的展览中，表现主义运用地淋漓尽致，在前言中，表现主义体现为典型的极具特色的辩论性术语，充分体现了这个类型的艺术家特点。在这个展览中说道:“这次展览的目的是为当前绘画界的运动提供一个全新的视角，绘画界的运动已经与大气的自然主义和运动性的印象派主义紧密结合在一起,并努力营造一个简化的、激烈化的表达方式，新的绘画规律，颜色的多重使用，装饰性的、不朽的绘画结构——这个运动一定程度上已经成为表现主义的代名词。

Was Egon Schiele ahead of his time or just in touch with it? A master of expressionism or practising pornographer and paedophile? What was the driving force behind his most memorable images; those being his nudes and self portraits? Looking at economic, social, personal influences, was he milking the times and environment for self gain or was he a hormone raging self absorbed youngster finding himself?

Introduction

Expressionism is described in typically polemic terms in the preface for the 1912 exhibition in Cologne, featuring new artists of this genre. In it, it says: “the exhibition is intended to offer a general view of the newest movement in painting, which has succeeded atmospheric naturalism and the impressionist rendering of motion, and which strives to offer a simplification and intensification in the mode of expression, after new rhythms and new uses of colour and a decorative or monumental configuration – a general view of that movement which has been described as expressionism.”

Schiele certainly fulfilled the loose terminologies expressed above, as a great deal of the subject matter he explored, primarily his nudes and his self-portraits, were concerned with the constant need to redefine and explore different ways of expressing these themes; a simplification and intensification in the mode of expression. At times, Schiele reduces the broad sentiments of Impressionism to a single streak; he cuts out all that is unnecessary, reducing his backgrounds to a simple wash of colour, and thus focuses on his primary interest, that of the human subject.

Schiele was also extremely concerned with the notion of self in his work; he is frequently cited in critical work as a narcissist and, with over 100 self portraits to his name, each of which appear to be concerned with showing himself in various, often contradictory ways, this would appear to be true. But, beyond simple glorification of the self, Schiele seems to be doing something else in his self-portraiture. By picturing himself in such a varied and at times contradictory way, Schiele in turn questions his own authenticity, and attempts to align himself with that great canon of artist in society, as a contemporary Promethean or Christ-like figure.

“Allegory, unmasking, the presentation of a personable image, and close scrutiny of body language as influenced by the psyche, all met most palpably where Schiele's eye looked most searchingly – in his self-portraits, his odyssey through the vast lands of the self. His reflections on and of himself filled a great hall of mirrors where he performed a pantomime of the self unparalleled in twentieth century art.” Indeed, the ambiguity of Schiele as regards himself is a dense and complex subject, which regards bo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。