#egon Scheile

[lizdoart]

is it still fanart if i think hes cringe?

[gaiusozarkus]

Egon Scheile

[spicedddrum]

egon scheile viktor....

[edgarallanpoohbear]

floppy hair x my Egon Scheile tattoo’s floppy hair

[penbwl]

Thank sensory overload for this shitty scribble

[scarletwintr]

influences;  egon schiele

[gregahamilton]

18 x 24 Charcoal on Paper 2014, SOLD PRIVATE COLLECTION

[glurg]

one thing you should know about me is I love this little poster shop a lovely old man owns. I say poster shop but he sells old photographs and prints of Gustav Klimt, Egon scheile idk can'tspell his name. I have an anonymous headshot of this lovely woman from the 50s on my mantlepiece <3 I'm going to start telling people she's my grandma...why not

[crystal-lions]

Here's where my foot comes down as an animator. I if a project is my creative baby, it deserves to be closer to egon scheile than Steven universe. That is to say I hope I never cave into using bean animation for my passion projects and instead work with teams that appreciate the individuality of more chllanging art styles.

[maialeesfineart]

16.2.22 This week’s Wednesday lecture was a little different to usual: instead of a single artist, we received talks from 4 different students studying Fine Art MAs at Liverpool John Moores University.

Oak McLaughlin Barnett

Curve (2020)

Self-Portrait with Calathea (2022)

The first to talk was Oak McLaughlin Barnett. Barnett’s portfolio is predominantly sketches and small paintings, using ballpoint pens, oil and acrylic paints, ink and watercolours. Frequently life drawings, their work places an emphasis on movement, sexuality and the body. I like how the drawings feel very organic and physical, and include an eye-catching use of colour and texture. Barnett has a background in literature, and took the MA course to expand their horizons beyond what they are familiar with. They also draw inspiration from their Irish roots and familial connections. I find their work to be slightly reminiscent of Egon Scheile’s portraiture in their use of colour, subject and fluidity of linework.

Having said this, Barnett’s work just simply didn’t do anything for me. This may be because I am moving away from this type of life drawing and painting, and also of their tendency towards bright colours, where I typically gravitate towards more muted and tonal pallets.

Elena Platt

Untitled (2022)

Elena Platt has a background in philosophy, having earned her BA in the subject, and as a result her practice is heavily influenced by philosophical theory and thought. She emphasises the value of sensory perception, and the overlooked senses such as sound which often stimulates us before we take in visual media. She also looks at the concepts of space, time, and our interpretations of reality. Her practice is diverse and experimental, working with a variety of media, and places importance on both audible and visual elements. Platt has a large body of short films and stop-motion animations that are simple and personal, alongside many fluid single-line drawings and mark-making experiments.

If I am honest I wasn’t particularly drawn to this work – although I can understand the pieces within the context of her thought process, I found that upon watching and re-watching the work, I couldn’t read any of this philosophy in the work. This is not to say that the work is lacking, it’s just not what I could take from it. Having said this, there was one unnamed stop-motion video (attached above) which I did really enjoy, which imposes an exchange between the artist’s grandmother and sister over a video of a loop of plasticine that appears to pulsate and move across the window. I think I was drawn to the casual domesticity of the conversation and the view from the window, contrasting with this little bizarre object which moves like a heartbeat as if responding to her words.

Joshua Cook

Liverpool

We then heard from Joshua Cook, whose work I found to be really interesting. Cook’s practice is very varied and well-rounded – he works with photography, sound, video, and installations. Most of his photographs are shot on film or polaroid, so have a grain and hue that makes them seem nostalgic and retrospective. Whilst his photography is good, and ties his portfolio together, it was not what I personally found to be particularly interesting about his work.

Real Fake People

What I was inspired by was his extensive experiments with sound, which is something I don’t personally see too often in the arts. The sound works function as an insight into the artist’s life – he includes voicemails, techno music, recordings of conversations, aiming to emulate the way he may have been feeling at that point in time. To me, it speaks to the deep interpersonal connections that we all have. He also samples voices and mixes them with music and sound affects, assigning them to each of a series of people in his life. I find this interesting as they are presented without context: you don’t see the person, or read about them, but by listening to the soundtracks you can glean a sense of what they are like, or at least how Cook perceives them to be.

I found this to be very inspirational. I have never worked with sound before, and what audio art I have seen and heard in the past has not made me consider it seriously before this. However, this is now something I definitely want to look into in the future. I think this is because the work resonated with me: recently my practice has been exploring the intricacies of human connection and communication, so I think the conceptual similarities are what drew me to this work.

Jioni Warner

Jioni Warner was the final to talk. Her practice has its roots in the exploitation of and discrimination against black women throughout history, which is a very important and relevant subject to bring awareness to. During the talk, she addressed three different examples of the objectification of black women in the past and present day. The first of the series references the horrific case of Sarah (Saartjie/Sara) Baartman, a Khoikhoi woman who was taken from her native land and exhibited as a freak show attraction in 19th-century Europe under the name ‘Hottentot Venus’. Even after her death, her remains were still displayed in France and were only repatriated as recently as 2002. Throughout her lifetime, she was dehumanised by the white people who both displayed and visited her, and is a harrowing example of the realities of the racist colonial exploitation that was rampant at that time and throughout history. Warner photographed herself in this persona, with simple nude clothing, bantu knots and a monochromatic colour scheme. I love these photographs; I think they are really organic and celebratory of beauty and simplicity, whilst still embodying and commemorating Sarah.

The second component is inspired by the women of the Windrush generation, which refers to the people who arrived on the ship MV Empire Windrush in the UK between 1948 and 1971 from the Jamaica, Trinidad and Tobago and other islands in the Caribbean. This mass immigration occurred to bolster the workforce in post-war Britain. When they arrived in Britain, they faced immense racism and violence, especially pertaining to finding accommodation, which unfortunately meant that the UK was an incredibly dangerous environment for black people at that time. The third component of this piece explores the struggles that black women face even today. They are still subject of hyper-sexualisation, amongst other forms of race-based objectification, and Warner explored that by photographing herself as this attractive modern black woman.

She then worked from these photographs to make a triptych. One of my favourite artists is Njideka Akunyiki Crosby, and I think I like these paintings because you can see her influence within the mixed-media approach Warner has taken. In the background of her self-portraits, she has layered photo transfers which contextualise the subject, which I think makes the paintings really strong and visually engaging.

Human(ish) (2021)

Brit(ish) (2020)

Wild(ish) (2021)

[edgarallanpoohbear]

new ink! 

Egon Scheile’s “Adele with Dog” (1917)

[art-now-uk]

The girl with amazing hair, Christine Callum McInally

This painting somehow achieved more than I expected when I started. It was made at my usual drawing group on a Tuesday but I usually paint but because the time is short, I have gradually learned how to paint a little faster each time. This time, the model had great hair and the shape of it gathered up on her head seemed to give the work much more power and a certain charm I hadn't really expected. The red velvet footstool too somehow creates a fin de siecle feel which I love. Lots of people say that my drawing often has a Egon Scheile look to it and I do love his work, always have but I have never attempted to copy it. The acrylic paint I use is Golden open and it is just so good, I feel that I know what to do with it. The board is a plain grey board with a couple of thin coats of gesso painted on as a ground to give it a tooth when I'm drawing with charcoal.

https://www.saatchiart.com/art/Painting-The-girl-with-amazing-hair/696564/3117050/view

[lockdownworld]

☆ perspectives on practice - Jo Newman

padlet timeline presentation

‘pushing at little areas that can change’

> learning

from many influences not just academia

practice : illustration + interdisciplinary work

Dartmoor

> animals - dog, fish, giant African snails, hamster

texture/shapes/movement/personalities

> no computers - resourceful

DIY shoes/jumpers/clothes ‘radically different from tidiness and conformity that parents were presenting’

‘collecting things’

‘create a workshop in your home’

> music - piano lessons

the entertainer by scott joplin

> artworks on parents walls

Modigilani - long neck

Toulouse La Trec - textures, mark making, colour

Egon Scheile - life drawing

father was an architect - more ordered, geometric landscapes (Miles Van Der Rohe)

> films

snow white and the seven draws - animation and colour

peter and the wolf - delightful animation

kill bill - colouring

> books

hitchhikers guide to the gallery - space and sci-fi (on the radio)

letraset- scratch off type

the hobbit - influenced narratives and textures

a thousand spendid suns - ‘moving’ ‘true’

> education

anti-establishment / punk era

> perspectives on practice

life drawing - seeing figure in different way

fashion and textiles - expressive and costume based, specialised in knit

sold hats in the hat shop in covent garden + commissions

costumes for Cats/Starlight Express/RSC/Torvil and Dean

sold drawings

then went into teaching - humour, experimentation, curiosity, feeling alive

[blackbooksandblackholesanna]

Egon scheile

Painter and illustrator Egon scheile was most famously known for his signature themes of figural distortion, defiance of body normalities and the psychological ad erotic energy he exhibited in his artwork. 

Egon for the most part used mediums such as water colour, gouaches, pencil and oils along with experimenting on various different paper types. He liked to use the continuous drawing method which required constant eye contact on the life model. This process is what encouraged his loose and fluid sketches/paintings this also correlates to his expressionism where he communicates the subjects emotions and responses (subject being the life model)

I really like the abstract and free nature to his artwork, he also has a reoccurring colour scheme that I like with very warm tones. It has inspired my to embrace the idea of being more fluid when drawing portraits, figures etc and creating as many as possible. 

[untilfurthern0tice]

I GOT EGON SCHEILE

GUESS WHOS GONNA DIE HAPPY AT 28

made a uquiz for all yall art bitches, will rb with the link

[lillieellaa]

Egon Scheile

Videos and Audios we looked at during class to help us research Egon and learn more about his life and art.