Egon Schiele
(Tulln 1890–1918 Vienna)
Seitlich stehende Frau mit gepunkteter Bluse und erhobenem linken Arm (Standing woman with dotted blouse and raised left arm), signed and dated EGON SCHIELE 1911, pencil on paper, 48 x 31.5 cm
We are grateful to Jane Kallir for confirming the authenticity of this work. It will be included in the work catalogue under the number D911a.
Provenance:
Private Collection, Vienna (for three generations)
Compare:
Jane Kallir, Egon Schiele. The Complete Works, New York 1998, cat. rais. no. 911
The young woman in this drawing wears a thin dress layered beneath a short, dotted blouse. She stands in profile, her head turned towards the viewer, whilst her left arm – raised to the shoulder – extends counter-directionally to the rear. This posture creates a torsional momentum that is further heightened by the softly billowing drapery of the garments. Schiele introduces an almost humorous accent with a single line that detaches itself from the dress, continuing the momentum of the bodily movement in an undulating wave, as if gently caricaturing it. Directly beneath this, the artist places his distinctive signature.
The exceptional quality of the drawing lies in the dynamic alternation between delicate and forceful pencil strokes. A fine, restrained line initially delineates the figure before select passages are emphasised through greater pressure. The facial features are particularly incisive: the eyebrows, which appear as if combed; the accentuated eyelids and long eyelashes; and the contours of the nose and mouth, underscored by multiple, repeated lines.
The closed eyes are espescially remarkable, directing the gaze inward as an expression of alert concentration as it is i.e. characteristic of dancers. A comparable drawing (cat. rais. no. 911) is noted by Kallir within the series depicting the dancer Moa; yet, instead of the typical intense, seductive, and provocative gaze, Schiele chooses here a state of introspection and a consciously experienced interior physicality.
Specialist: Dr. Marianne Hussl-Hörmann
(Tulln 1890–1918 Vienna)
Seitlich stehende Frau mit gepunkteter Bluse und erhobenem linken Arm (Standing woman with dotted blouse and raised left arm), signed and dated EGON SCHIELE 1911, pencil on paper, 48 x 31.5 cm
We are grateful to Jane Kallir for confirming the authenticity of this work. It will be included in the work catalogue under the number D911a.
Provenance:
Private Collection, Vienna (for three generations)
Compare:
Jane Kallir, Egon Schiele. The Complete Works, New York 1998, cat. rais. no. 911
The young woman in this drawing wears a thin dress layered beneath a short, dotted blouse. She stands in profile, her head turned towards the viewer, whilst her left arm – raised to the shoulder – extends counter-directionally to the rear. This posture creates a torsional momentum that is further heightened by the softly billowing drapery of the garments. Schiele introduces an almost humorous accent with a single line that detaches itself from the dress, continuing the momentum of the bodily movement in an undulating wave, as if gently caricaturing it. Directly beneath this, the artist places his distinctive signature.
The exceptional quality of the drawing lies in the dynamic alternation between delicate and forceful pencil strokes. A fine, restrained line initially delineates the figure before select passages are emphasised through greater pressure. The facial features are particularly incisive: the eyebrows, which appear as if combed; the accentuated eyelids and long eyelashes; and the contours of the nose and mouth, underscored by multiple, repeated lines.
The closed eyes are espescially remarkable, directing the gaze inward as an expression of alert concentration as it is i.e. characteristic of dancers. A comparable drawing (cat. rais. no. 911) is noted by Kallir within the series depicting the dancer Moa; yet, instead of the typical intense, seductive, and provocative gaze, Schiele chooses here a state of introspection and a consciously experienced interior physicality.
Specialist: Dr. Marianne Hussl-Hörmann
