Egon Schiele Quotes

Bodies have their own light which they consume to live: they burn, they are not lit from the outside.

I must see new things and investigate them. I want to taste dark water and see crackling trees and wild winds.

Art cannot be modern. Art is primordially eternal.

I was in love with everything- I wanted to look with love at the angry people so that their eyes would be forced to respond; and I wanted to bring gifts to the envious and tell them that I am worthless.

At present, I am mainly observing the physical motion of mountains, water, trees and flowers. One is everywhere reminded of similar movements in the human body, of similar impulses of joy and suffering in plants...

And yet, for my art and for my loved ones, I will gladly endure to the end.

In Vienna there are shadows. The city is black and everything is done by rote. I want to be alone. I want to go to the Bohemian Forest. May, June, July, August, September, October. I must see new things and investigate them. I want to taste dark water and see crackling trees and wild winds. I want to gaze with astonishment at moldy garden fences, I want to experience them all, to hear young birch plantations and trembling leaves, to see light and sun, enjoy wet, green-blue valleys in the evening, sense goldfish glinting, see white clouds building up in the sky, to speak to flowers. I want to look intently at grasses and pink people, old venerable churches, to know what little cathedrals say, to run without stopping along curving meadowy slopes across vast plains, kiss the earth and smell soft warm marshland flowers. And then I shall shape things so beautifully: fields of colour…

But Adele has been too wrapped up in her own dreams, her hopes sky-high, thinking of nothing but Egon Schiele.

He who denies sex is a filthy person who smears in the lowest way his own parents who have begotten him

Marriage isn't a vow to stop being interested in other people; it’s a commitment as to how to handle that interest.

During the period when Schoenberg actually hoped to earn an income from the works, forty of his paintings were shown in a small one-man exhibit in Vienna in 1910. Later some of his work was exhibited alongside that of painters such as Franz Marc, Wassily Kandinsky, Henri Rousseau, and Egon Schiele. Gustav Mahler anonymously purchased some of these paintings to help support the painter/composer. In

Sam was different. Sleek. Brooding and angular. An Egon Schiele portrait. Schiele if she remembered correctly had been a protégé of Gustav Klimt and had a propensity for drawing himself in the nude.

In October, Louise showed several new paintings at the Panoras Gallery on Fifty-Sixth Street. During this period, she painted nudes, interiors, several versions of MacDuff, many portraits, at least two paintings set in public buses, and other New York street-life subjects. Her stylized figures were often inspired by random encounters and eavesdropping. Observing underdogs and outsiders in action, she was drawn to faces and to cityscapes and to a style that incorporated storytelling and allegory. Louise’s new work was influenced by the scene painting of the Works Progress Administration and Mexican muralists; by Käthe Kollwitz and German expressionists like Max Beckmann, Oskar Kokoschka, and Egon Schiele; by Alice Neel, Francis Bacon, and other portraitists—and, to an increasing extent, by medieval tapestries and frescoes by Bolognese Renaissance artists such as Pellegrino Tibaldi. Louise kept working to reveal the lives behind the faces she portrayed—their backstory—and began to introduce some southern imagery from her own memories. She was fascinated by the story beneath the surface and whatever metaphysical qualities she could draw from the depths of her subject.

certainly do. One that follows me everywhere I go. I simply can’t get away from it, and believe me, I’ve tried. Egon Schiele.’ He drops her hand to perform an elaborately deep bow. Adele feels his phantom touch lingering on her skin. She weighs the name on her tongue and decides she admires it very much. It suits him.

But she does know that he will leave a legacy in this world. His name will be remembered. His art will adorn the walls of galleries. And his face is caught upon the page by Egon’s hand. Adele, too, wants to be preserved, held for eternity, by paint or pencil. In those moments, an old desire awakens: to pose for Egon Schiele.

sometimes there have been moments when I have perfectly understood the self-portrait called Man Screaming which Egon Schiele painted after his return from Trieste to Vienna, and it has dawned upon me what a nightmare hiatus we all pass through, on the way from birth to death. Surely the only logical response would be to stand on a bridge and scream? But no, self-deception sees us through.

Reprimir a un artista es delito, significa asesinar vida en gestación