Egon Schiele (1890-1918)
Egon Schiele (1890-1918)

Liegender Akt mit angezogenem linken Bein

Egon Schiele (1890-1918)
Liegender Akt mit angezogenem linken Bein
signed and dated 'EGON SCHIELE 1914' (lower right)
pencil on paper
12½ x 18 7/8 in. (31.8 x 48 cm.)
Drawn in 1914
Anon. sale, Dorotheum, Vienna, 2 June 1967, lot 358.
Anon. sale, Lempertz, Cologne, 30 May 1981, lot 758.
Serge Sabarsky, New York (acquired at the above sale).
S. Sabarsky, Egon Schiele, New York, 1984, p. 222, no. 143 (illustrated).
H.B. Bader, "Egon Schiele: od ucznia do mistrza," in Sztuka, 1985, p. 32.
K.A. Schröder, Egon Schiele: Eros and Passion, Munich, London and New York, 1999, p. 40 (illustrated in color).
J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 527, no. 1531 (illustrated).
Venice, Giardini di Castello, XL. Biennale di Venezia: Visual Arts 82, Summer 1982, no. 22 (illustrated).
Vienna, Akademie der bildenden Künste and Milan, Accademia di Belle Arti di Brera, Egon Schiele, vom Schüler zum Meister: Zeichnungen und Aquarelle 1906-1918, January-May 1984, no. 80 (illustrated).
Rome, Pinacoteca Capitolina, Campidoglio; Venice, Galleria Internazionale d'Arte Moderna, Ca' Pesaro and Martigny, Fondation Pierre Gianadda, Egon Schiele, June 1984-January 1987, p. 222, no. 143 (illustrated).
Charleroi, Palais des Beaux-Arts, Egon Schiele, September-December 1987, no. 84 (illustrated).
Rosenheim, Städische Galerie; Florence, Palazzo Strozzi; Herford, Herforder Kunstverein im Daniel-Pöppelmann-Haus; Leverkusen, Erholungshaus der Bayer A.G.; Frankfurt, Jahrhunderthalle Hoechst; Bari, Castello Svevo; Genoa, Museo Villa Croce; Ferrara, Padiglione d'Arte Contemporanea di Palazzo Massari; New York, Nassau County Museum of Art; Linz, Oberösterreiches Landesmuseum; Milan, Palazzo della Permanente; Städtische Galerie Bietigheim-Bissingen; Berlin, Käthe-Kollwitz Museum; Passau, Museum moderner Kunst; Ulm, Ulmer Museum; Prague, Palais Wallenstein; Paris, Musée-Galerie de la Seita and Vienna, BAWAG Fondation, Egon Schiele: 100 Zeichnungen und Aquarelle, May 1988-May 1993, no. 74.
Aix-en-Provence, Musée Granet; Albi, Musée Toulouse-Lautrec; Lisbon, Culturgest; Zurich, Galerie Hauser & Wirth; Aschaffenburg, Stadt Aschaffenburg/Galerie Jesuitenkirche and Blumeninsel Mainau, Schlob Mainau, Egon Schiele: Cent oeuvres sur papier, June 1993-November 1994, no. 65.
Martigny, Fondation Pierre Gianadda, Schiele, February-May 1995.
Bad Frankenhausen, Panorama Museum; Klagenfurt, Städtische Galerie Klagenfurt; Kracow, International Cultural Center and Ljubljana, Fine Art Gallery Cankarjev Dom, Egon Schiele, November 1996-June 1997, no. 67.
New York, Neue Galerie, Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections, October 2005-February 2006, p. 417, no. D118 (illustrated in color, p. 284).

Lot Essay

This overtly erotic drawing represents the more sensual, fleshy, and volumetric nudes that appear in Schiele's drawings and watercolors from 1914. The artist continued the line of inventive poses that he had explored the previous year, but his rendering of the female body, which had hitherto been graphically flat on the page, now gave way to figures that appear to occupy actual space. The contortions of her legs in the present drawing nevertheless preserve an element of spatial ambiguity. Discussing similar works on paper from 1914, Jane Kallir has written:

"Schiele's drawing style suggests an underlying structure of muscle and bone...[his] growing concern with plasticity eventually generates a more organic, fluid line. There are hints of almost conventional realism in the simplification of line and in the integration of contour and volume. As a result, skewed perspective--always an influence on the poses--now assumes a more disturbing character" (in cat. rais. op. cit, p. 527).

The feathery crosshatching and energetically coiled lines of the present drawing reflect the impact of Schiele's involvement with printmaking on his draftsmanship. Schiele began making prints in February of 1914, but abandoned the project six months later. The resulting etchings and contemporaneous drawings display what Kallir has called "stitchlike cross-hatching" and she noted that "It is impossible to determine whether the technique simply carried over into the etching media or rather evolved from it" (in ibid., p. 520). Similarly expressive marks also appear in the woodcuts of German expressionist artists such as E.L. Kirchner, Erich Heckel and Karl Schmidt-Rottluff as of 1913. Schiele continued to use this technique until he was drafted into the Austrian army in 1915.

The model's direct gaze and provocative position in the present work suggest that Schiele openly invested his drawings with the informal poses and blatant sexual display found in popular erotica. Whereas his models from 1910 are completely nude, Schiele furnishes this female figure with stockings, a pattered robe, and a coquettish choker, transforming the timeless nude into a partially naked modern woman.

More from Impressionist And Modern Art Evening Sale

View All
View All