EGON SCHIELE (1890-1918)
EGON SCHIELE (1890-1918)
EGON SCHIELE (1890-1918)
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EGON SCHIELE (1890-1918)
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Property from the Collection of the Viennese Cabaret and Film Star Fritz Grünbaum
EGON SCHIELE (1890-1918)

Stehender Akt mit Draperietuch

EGON SCHIELE (1890-1918)
Stehender Akt mit Draperietuch
signed and dated 'Schiele 1911.' (lower right)
gouache, watercolor and pencil on paper
22 3/8 x 13 ¾ in. (56.7 x 35 cm.)
Executed in 1911
Franz Friedrich "Fritz" Grünbaum, Vienna (from whom spoliated after March 1938).
Gutekunst & Klipstein, Bern (1956).
Serge Sabarsky Collection, New York (circa June 1976).
Restituted to the heirs of Fritz Grünbaum, 2023.
"Egon Schiele" in Mizue, no. 870, September 1977.
S. Sabarsky, Egon Schiele: Disegni erotici, Milan, 1982, p. 88 (illustrated in color, pl. 10; titled Seminudo femminile in piedi).
S. Sabarsky, Egon Schiele, Stuttgart, 1994, p. 124 (illustrated in color, p. 125).
J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 440, no. 808 (illustrated).
Bern, Gutekunst & Klipstein, Egon Schiele: Bilder, Aquarelle, Zeichnungen, Graphik, September-October 1956, p. 19, no. 13 (illustrated; with incorrect dimensions).
Vienna, Historisches Museum der Stadt Wien; Neue Galerie der Stadt Linz; Munich, Museum Villa Stuck and Hannover, Kestner-Gesellschaft, Egon Schiele: Zeichnungen und Aquarelle, September 1981-June 1982, p. 51, no. 42 (illustrated).
Vienna, Akademie der bildenden Künste; Milan, Accademia di Belle Arti di Brera; Palermo, Villa Zito; Tel Aviv Museum; Hamburger Kunsthalle; Salzburg, Rupertinum; Graz, Schloss Plankenwirth; Innsbruck, Tiroler Landesmuseum Ferdinandeum; Bottrop, Josef Albers Museum and Nuremberg, Kunsthalle Nürnberg, Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906-1918, January-March 1984, no. 54.
Paris, Hôtel de Ville, Salle Saint-Jean; Kaiserslautern, Pfalzgalerie; Bolzano, Museo Civico and Turin, Palazzo Reale, Gustav Klimt, Oskar Kokoschka, Egon Schiele: Dessins et aquarelles, June 1984-February 1985, pp. 104 and 127, no. 73 (illustrated in color, p. 104).
Roslyn, Nassau County Museum of Art, Klimt, June 1990-October 1991.
Städtische Galerie Bietigheim-Bissingen; Linz, Oberösterreichisches Landesmuseum; Herford, Herforder Kunstverein; Frankfurt, Jahrhunderthalle Hoechst; Innsbruck, Tiroler Landesmuseum Ferdinandeum; Künstlerhaus der Stadt Graz and Vienna, BAWAG Fondation, Zeichnungen und Aquarelle des Deutschen: Expressionismus, July-October 1990 (illustrated in color; titled Stehender weiblicher Halbakt).
Český Krumlov, Egon Schiele Art Centrum, Egon Schiele, November 1993-May 1996, p. 124 (illustrated in color, 125).
Reykjavik, National Gallery of Iceland, Egon Schiele, May-July 1996 (illustrated in color).

Brought to you by

Emily Kaplan
Emily Kaplan Senior Vice President, Senior Specialist, Co-Head of 20th Century Evening Sale

Lot Essay

Standing frontally to meet the viewer’s gaze, the female protagonist of Egon Schiele’s Stehender Akt mit Draperietuch appears provocatively poised to reveal her nudity. While this frontal pose is reminiscent of depictions of women from classical antiquity and beyond, the drapery tempering her otherwise brazen nakedness, the handling of the image is defiantly modern. With his assured, single pencil outline, contrasted with passages of richly colored gouache and watercolor, Schiele has masterfully distilled the powerful attitude of this female figure. Executed in 1911, this work dates from an important turning point in the artist’s career, as he liberated himself from the influence of Gustav Klimt and began to pursue the idiosyncratic style and subject matter that would set his work apart from his contemporaries in turn-of-the-century Austria.
Rendered with luxuriant, multi-hued blue strokes that meet the dark purples and violets of the woman’s stockinged-leg, the depiction of the drapery in the present work demonstrates the great leap Schiele had made at this time in the mediums of watercolor and gouache. He repeatedly played with both of these types of paint during this period, achieving a sense of control particularly over the unpredictable quality of watercolor.
As the present work shows, Schiele attained a highly nuanced palette, with subtle variations in tone, opacity and finish as the washes of watercolor and gouache move across the sheet. Contrasting with the expressive pencil outline to describe the slender, statuesque form of the figure’s body, these passages of richly colored pigment seem to shimmer, creating an almost iridescent effect. Flashes of rose pink and coral tones highlight the woman’s pouted lips, breasts and seductively half-closed eyes. Her long dark hair, flowing down below her waist, heightens the striking delicacy of her body.
A number of perceptively captured nuanced details—the woman’s raised eyebrow, left hip bone extended as she rests her weight on the other hip, as well as the just visible stocking she is wearing on her left leg—suggest that this figure is very much aware of her sexuality, returning the artist—or the viewer’s—gaze with a powerful assertiveness. This sense of self-assured femininity frequently appeared in Schiele’s female nudes of this time, a departure from the traditional conventions of portraying this subject in previous centuries of art.
This portrayal of the female figure in the present work reflects an overall shift in Schiele’s work at this time. Over the course of 1911, the protagonists of Schiele’s art changed. The often more demure nude images that he painted in 1910 transformed to the more sexually direct depictions of models that he began to portray in 1911. These women are more unflinching both in their gaze, often staring out of the picture plane to meet the viewer head on, but also in their poses, as Schiele forged a new form of radical and expressive nude.

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