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拍品专文
Zwei Mädchen (Liebendes Paar) is typical of the more provocative and sensual figures that appear in Schiele's drawings and watercolours from 1914, and is dated by Jane Kallir, along with three other related works, to early 1915 or late 1914. The artist continued the line of inventive poses that he had explored in 1913, 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, particularly in the intertwined and angular partially dressed women of Zwei Mädchen (Liebendes Paar) and the related works.
In the works of 1914 and 1915 Schiele moves from the neurotic, earthy and expressive line and poses that distinguish the works of his early maturity in 1910 and 1911, to openly investing his drawings with the poses and blatant sexual display found in popular erotica of the time. Whereas his models from 1910 are typically completely nude, Schiele furnishes the female figures of Zwei Mädchen (Liebendes Paar) with hats, fur coats, stockings and underwear, transforming the timeless female nude or Odalisque into a voyeuristic scene of sexualised modern female lovers. Schiele had perhaps realised the commercial appeal of such provocative subject matter when in 1913 a drawing of two intertwined female nudes, Freundschaft (Kallir 1355) was rejected by the Munich Secession in December 1913 on moral grounds, only to be swiftly purchased privately by Keller, the President of the Succession, for 50 marks.
The feathery lines of Zwei Mädchen (Liebendes Paar) 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" (op. cit., 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.
In the works of 1914 and 1915 Schiele moves from the neurotic, earthy and expressive line and poses that distinguish the works of his early maturity in 1910 and 1911, to openly investing his drawings with the poses and blatant sexual display found in popular erotica of the time. Whereas his models from 1910 are typically completely nude, Schiele furnishes the female figures of Zwei Mädchen (Liebendes Paar) with hats, fur coats, stockings and underwear, transforming the timeless female nude or Odalisque into a voyeuristic scene of sexualised modern female lovers. Schiele had perhaps realised the commercial appeal of such provocative subject matter when in 1913 a drawing of two intertwined female nudes, Freundschaft (Kallir 1355) was rejected by the Munich Secession in December 1913 on moral grounds, only to be swiftly purchased privately by Keller, the President of the Succession, for 50 marks.
The feathery lines of Zwei Mädchen (Liebendes Paar) 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" (op. cit., 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.