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Schiele preserved his more allegorical, symbolic works for the medium of oil; paintings such as Hermits discussed earlier, and thus, this hollowness cannot be overlooked as having greater metaphorical meaning, and would suggest the reasons behind why Schiele's self-portraiture varied to such a large degree; namely, that the inner self which Schiele was desperate to uncover, was absent, or simply defined as a mad, glowing redness. “[S]pastic and hunch-backed, or with a rachitic deformation of the ribcage: this was the artist as an image of abject misery – a cripple […] the dirty colouring, with its shrill accents, makes the flesh tones ugly and aberrant. In Seated Male Nude, a self-portrait, the artist mutates into an insect. The absence of feet […] [is] an amputation. This is a mangled soul in a mangled body. We see through the body into the soul.” Indeed, the mangled soul is non-existent, the inside is hollow and empty.

So, insomuch as this is similarly affected by social and cultural developments at the time, Schiele is moreover offering a more detailed and theoretically astute reading of the self and warring and dissolute factions. Schroeder says that: “If all of these self-dramatizations reveal the true nucleus of the painter's psyche, then he must have been a fragmented personality, unlikely to escape the diagnostic attentions of the genius Sigmund Freud.

The question is just how much of his psyche is conveyed by his self-portraits, either those with grimaces or those that express a frozen resignation? What and whom does Egon Schiele really see in his studio mirror? […] It makes all the difference in the world whether he is observing his own body as an act of direct, emotional self-knowledge or whether in his imagination he is slipping into someone else's role and experiencing his own self as that of another person.” So, that Schiele depicts himself as a variety of different people doesn't necessarily mean that he is living up to a certain artistic function; in a sense, glamorizing the role of the artist as a suffering person.

Art As Pornography

Schiele has been regarded by many critics as a pornographer. Looking at his paintings, which often draw attention to the genitals, to eroticized regions of the human body, as well as the contorted and mechanistic quality to the nude portraits, which appear twisted and exploited. Schiele was eventually put in prison for his indecency, although this was due to his eccentric practice of showing his work to the friends of the children who were painted, often nude. Schroder suggests that “[i]n Schiele's early pictures of children the objective embarrassment of the models' lowly social origins is reinforced by the embarrassment of their obscene nakedness.” This would suggest that the portraits themselves are designed to be as exploitative and as pornographic as possible.

The children portrayed are certainly seen in an especially lurid light; and their embarrassment is portrayed by their forced poses, the absence of environment, etc. However, it is often difficult, at the time and la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。