Nude Girl with Arms Outstretched - Egon Schiele

Hyperrealism 1967-2012
<exchanging gazes> 5

Hyperrealism. 1967-2012

22 March to 9 June 2013

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Autor:: Tom Blackwell
Título:: Triumph Trumpet (detail)
Fecha:: 1977

Técnica:: Oil on canvas
Medidas:: 180 x 180 cm.
Ubicacion:: Private Collection, New York.
image © Tom Blackwell photo © Louis K. Meisel Gallery, New York

<exchanging gazes> 5: Interior Scenes. Women and Daily Life.

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From 26 February to 10 June 2013

Autor:: Nicolas Maes
Título:: The Naughty Drummer
Fecha:: c. 1655

Técnica:: Museo Thyssen-Bornemisza, Madrid. Nr. INV. 241 (1930.56)

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Nude Girl with Arms Ou...

Thyssen-Bornemisza Collection

Autor:: Egon Schiele
Título:: Nude Girl with Arms Outstretched
Fecha:: 1911

Técnica:: Watercolor, gouache and pencil on paper
Medidas:: 48 x 31.5 cm
Úbicacion:: Museo Thyssen-Bornemisza, Madrid
Numero de inventario: INV. Nr. 738 (1977.11)

Nude Girl with Arms Outstretched, Egon Schiele

More information about this work

At the beginning of the twentieth century, when sexuality began to be explored more seriously, some artists — among them Egon Schiele , no doubt — reflected certain emotions in their portraits by means of an erotic exaggeration of the naked body. From the scientific and artistic revival of the body in the Renaissance, bringing with it the debate on idealistic or naturalistic representation, until the end of the nineteenth century, when the nude began to be considered a means of identifying individual personality, the nude portrait was very rarely used. However, in the twentieth century the body gradually gained greater popularity as a theme and as a result the nude portrait became widespread.

Egon Schiele never conformed to the canons of beauty in his portrayal of the human body, which he showed in uninhibited poses imbued with eroticism. Indeed, even when they adopt provocative poses, his human figures appear to the viewer to be isolated by their alienation. As in other works, in the present watercolour the artist uses a young girl as a model — a practice that earned him a spell in prison and a conviction for offending public morals.

Although Jane Kallir called the work Standing Female Nude in the catalogue raisonné of the painter’s work, as Peter Vergo has noted the girl is not standing but reclining.

Paloma Alarcó

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