英语论文网

chiele's early works, his more controversial nudes and self-portraits to enter mainstream art. Mitsch goes on to say: “While his late work soon attracted sympathetic attention and also led to the first purchases by the State, the early works received a wider appreciation only gradually.

Their expressionist pathos and uncompromising forms required greater sophistication on the part of the onlooker. A revolution in aesthetics had led to the discovery of the beauty in so-called 'ugliness'.” So Schiele was before his time in portraying this ugliness in such an unflinching manner. Even though the general movement was geared towards introspection and a study and reappraisal of the human form, Schiele proved to be culturally ahead of his time with his early work, which divided audiences then and will probably continue to do so.

Mitsch continues: “Rodin once said that only that which has its character, that which is able to give expression to a great inner truth, is beautiful in art; this seems no longer a paradox. 'Ugliness' was deliberately sought after as something novel, as a basic regeneration with an inherent potential for new developments. This process, often to be observed in times of crisis and radical change, entailed of necessity also such a modification in the former scale of values that Ludwig Hevesi could coin a lapidary formula for the realm of aesthetics: 'beautiful means ugly, and ugly, beautiful.'” Schiele questioned and interrogated the body of the human being, in how it was portrayed in art, and why it was portrayed as such.

Conclusion

Egon Schiele was both ahead of his times and with them. By aggressively and successfully fighting against an established set of aesthetic norms and preconceptions as to the role and the function of art in contemporary society, Egon Schiele paved the way for a new generation of artists obsessed more by the politics of “ugliness”, rather than simply providing a work of art that would look pleasing. By appropriating the theories of Sigmund Freud, Friedrich Nietzsche, and the politics of the Expressionist school of art, Schiele radicalised how art would be seen in the twentieth century.

Although Schiele was ostensibly tied to a number of specific traditions, was still adapting his finely honed techniques, he used painting in an altogether different way. Schiele successfully managed to expose and develop his world view in a way that was specific to him, and would be emulated by others. His artistic polemic, directed at the art establishment, which he saw as a perversion of traditional artistic principles, was striking insofar as it sought to expose and radicalise the notion of the body in the twentieth century, during a time of massive social and cultural change.

The growing spirit of secularism, coupled with the economic necessity to portray a self that it less weighted by the models of traditional art (a break in the funding of art through patronage facilitated this move) facilitated Schiele's move toward portraying a specific mode of artist that he would cling onto. Schiele's notion of the artist was as a martyr – a Christ-like figure wandering in pained solitude, in isolation from the specificities and the mundane whims of 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。