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Never was the world so deathly silent. Never was man so small. Never had he been so alarmed. Never was joy so far away and liberty so dead.” But he rallies against this bleakness, which is encapsulated in other modernist and expressionist works; works such as Eliot's Wasteland and the paintings of Munsch and the German school of expressionism: “Now necessity cries out. Man cries after his soul, and the whole age becomes a single cry of need. Art, too, cries with it, into the depths of darkness; it cries for help; it cries after the spiritual: that is expressionism.” So, by ploughing the ambiguities of the self, this reading would assume that Schiele was, in many respects, crying “after his soul”, so to speak; searching among the myriad of different identities available to him, a concrete or at least a compatible sense of self that had eluded him, along with an entire generation of artists dispossessed by the Viennese establishment.

The various parts of Schiele's meticulous, and almost surgical self-analysis falls into a number of distinct camps, but also seems to, in a more generalised sense, work against the pattern of self-portrait or nudity established by other artists. Up until that time, generally speaking, the nude was seen in a grandiose sense: the painted nude women, such as those in Degas, were painted as Goddesses, resplendently beautiful, radiant, often placed in scenarios that depicted frolicking jollity or natural equilibrium; and the men, who were much rarer in contemporary art, were generally seen as heroic, muscular and noble.

Schiele breaks entirely with this long-established tradition. Firstly, the school of nude self-portraiture at the time only comprised of a single person; Richard Gerstl, whose painting Self-Portrait, Naked stood on its own at the time as the only painting to be done of the nude artist. Schroeder points out: “Just how uncommon is was to depict oneself naked is revealed by the fact that before 1910 only one precedent existed in the whole of Austrian art.” Thus, Schiele was already putting himself in the position of pioneer of a particularly exhibitionist genre. But, in unsheathing the artist of the attire that would previously assign to him his identity, Schiele places a whole new dynamic in the art: the dynamic of the self itself.

One of Schiele's most important works Seated Male Nude (1910), Schiele portrays himself covering up his own face. Indeed, in most of his self-portraits, especially his early ones, his posture is contorted and manufactured; he is posing and the background again is simply a plain, unembellished white. In Seated Male Nude, Schiele is grossly emaciated, his feet have been cut off, and his nipples and eyes glow red, suggesting that there is a deep demonism within him. He is seen as grotesquely, disturbingly ectomorphic; “the figure looks as though it has been taken down from a gothic crucifix: it is angular, and looks carved: Schiele was seeing himself as Christ without a loin-cloth.

The red highlights of his eyes, nipples, navel and genitals make the body look as if it were glowing from within.” But, also, th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。