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ter, to extrapolate eroticism from pornography, and in Schiele, this is particularly difficult. Schiele himself denied accusations of pornography, and certainly, the nudes have greater substance and meaning in terms of formulating an Expressionist identity of the self. Mitsch suggests that Schiele “expresses [in his eroticism] human bondage and is to be understood as a burden that is painful to bear. Aimed, from the beginning, at outspokenness and truthfulness, it assumes almost inevitably a daring form.” So, here difficulty with regarding Schiele's output is highlighted.

The work is about expressing human bondage, but it is also exaggerated and mutilated and “outspoken”. So Schiele acts as both pornographer and eroticist, and also strikes out more clearly at exposing the truth behind the body. Schiele himself commented on accusations that his work is pornographic made by his Uncle, by replying in a letter, saying that “the erotic work of art is scared too.” The painting Reclining Girl In A Blue Dress (1910), establishes this difficulty. In it, a girl is portrayed, leaning back and revealing her genitals. Her genitals are high-lighted in white, and draw the eye to the girl's genitals using both composition and colour.

The brush-strokes are strikingly crude, almost sketchy. Fischer says that “[i]t is impossible to defend this picture against the charge of pornography. Even so, Schiele's radicalism of form places him beyond too simplistic a categorisation.” He goes on to say: “He was not merely out to satisfy a shallow voyeuristic impulse. Pubescent lust and delight in discovery, the naïve symbolism of distinguishing sexual features, and boyish stratagems for looking up girl's skirts are combined in the twenty-year-old artist's way of viewing the world with the invention of ingenious new forms, which took the Schiele of 1910 a step forward, out of the world of teachers and uncles and into the radical world view of the Expressionist avant-garde.

In the years ahead, Schiele pursued this distinctive combination obsessively.” So, according to Fischer, even though his work was pornographic, the forms in which this pornography took and the means by which Schiele painted these pornographic images, allowed us to question the nature of the images and thus elevate them to something beyond pornography. Schiele was certainly obsessed with portraying the self: his images, despite being, at times, shamelessly provocative and deliberately controversial to the conservative Viennese public (the pre-conceived role of an artist to challenge the perception of the ordinary people would stress this, and was a certain depiction of the artist that Schiele would live by), would also put stress on the techniques and the principles applied to the painting in order to elevate it beyond mere titillation or voyeurism.

In his nudes, Schiele was definitely looking to get closer to his, and societies view of the human condition in the confusing wake of secularism, the transmogrification of belief toward the self (in Freud and Nietzsche, for instance), and the self's role in society. Naturally his view is not a particularly optimistic one, and he is frequently out to establish the pain in the heart of the self – his cut-off, mutilated and distorted figures 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。