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Their lips do not meet: angling his head, he instead raises his mouth to her ear, in a kiss, or to whisper seductive, soothing words to her.
She has drawn up her hands for warmth, or in modesty; although we know her to be nude, we see little of her body. Her partner's embrace is protective; he drapes himself around her.
The English poet John Donne inquired of his beloved: "What needst thou have more covering than a man?
Schiele was seldom so discreet and suggestively erotic as he has been in the subtle nuances of this unforgettable pose. The present work is the decisive preliminary study among a series of seven drawings that may be associated with this oil painting Kallir, nos.
Schiele declared in this gouache his choice of the novel and unexpected way in which he would present the embracing couple in his painting: they will be seen from a most unusual point of view, with the man's intervening back to the viewer.
There is another gouache executed around the same time as the present work Kallir, no. Although we can see only the top and side of his head, it is Schiele who is both onlooker and lover in the gouache and oil versions of Umarmung.
The painter has refused a proxy model: Schiele the artist is Schiele the lover. The oil and gouache owe their compelling power to the fact that the artist has projected himself and the urgency of his erotic feelings directly into the painting.
Comini has written: "Schiele's portrayal of himself as the lover in The Embrace brings attention to an important fact.
He has shown himself nude in a major canvas for the first time since --following a thematic withdrawal of over five years. One of the causes for this cessation of nude-self-portraiture [is] the deep trauma inflicted at Neulengbach [in , when the artist was jailed on morals charges].
The young man who, to clothe his spiritual vulnerability, had borrowed the guises of hermit, monk and saint, had also taken care to cover his physical nudity.
The thematic self-portrait statements of the next five years all had as their protagonist a clothed Schiele Now, almost six years later, it is again expression of his sexual drive that enables Schiele to throw off the last vestiges of allegorical masquerading and return to the theme of his nude body.
There are nonetheless still a few reservations He has turned his back to the beholder--his mirror. Even his face is only partially seen.
And yet there can be no doubt as to artist's identification or wish-identification with the male figure in The Embrace.
The image of self as lover has been given full expression in this important and bold painting" ibid. The model for the female figure, on the other hand, is not Schiele's wife Edith; she had by this time grown too plump to pose in the nude.
Mann und Frau II initially contained a second female figure in the lower part of the canvas, which Schiele painted out before ceasing work on it and leaving it unfinished.
Comini has theorized that in his late multi-figure paintings Schiele was aiming to create a cycle in which he took the roles of lover Umarmung , husband and father Die Famille , and then lover again, but this time with a second woman, a mistress Mann und Frau II.
He changed his mind about the third composition; as Comini has explained, "It is conceivable that Schiele was affected by the prospect [in ] of his and Edith's first child, and that a symbolical affirmation of his masculinity--as husband and lover--was no longer necessary" ibid.
Working from the gouache Umarmung , Schiele made numerous alterations and refinements in the pose of the two lovers while painting the oil version.
In the latter, the young woman raises her right hand and extends her left arm to grasp her lover and return his embrace. The man presses his face to her behind her ear, seeking the back of her neck in a vampire-like gesture.
Schiele loosened the woman's hair, rendered in black instead of the reddish brown seen in the gouache, so that it flows behind her toward the upper right corner of the canvas, seemingly intertwined with her lover's hair.
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Nog steeds weerspiegelt het werk zijn obsessie voor seksualiteit, maar het straalt nadrukkelijk meer menselijkheid uit. Kunsthistoricus Georg Fisher noemt het werk dan ook Schieles "positieve parafrase", een teken van levensaanvaarding, tegenover de "negatieve parafrase" van veel van zijn eerdere werken.
De figuur van Schiele zelf oogt op het schilderij nog steeds mager en verwrongen, maar duidelijk minder dan op eerdere portretten.
Er is minder afkeer. De kijker wordt uitgenodigd het begrip omhelzing met al zijn lichamelijke en psychische implicaties mee te beleven.
Edith Harms overleed in , zes maanden zwanger, aan de Spaanse griep. Drie dagen na haar stierf ook Schiele, 28 jaar oud, aan dezelfde ziekte.
De kus van Gustav Klimt , bron van inspiratie. Uit Wikipedia, de vrije encyclopedie. Doorverwezen vanaf Umarmung Liebespaar II.
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