The exhibition at the Belvedere in Vienna shows the approach made by three masters like Klimt, Schiele and Kokoschka to the "the woman question".
Mujer sentada con medias violeta, de Egon Schiele.
In the early years of the twentieth century, sexuality and their roles they changed forever. Equality between men and women, sexual openness, family relationships, reproductive issues... the moral imperatives of the nineteenth century entered were questioned, and new models transforming female identity were borned.
Desnudo, de Oscar Kokoschka y Eugenia (Mada) Primavesi, de Klimt.
At that time, in Vienna, the bourgeoisie opened to sexuality, they read Freud and Otto Weininger and discovered in art a channel for the representation of female sexuality. Now, the Belvedere Museum in Vienna looks back to that revolution through the eyes of three revolutionary artists: Gustav Klimt (1862-1918), Egon Schiele (1890-1918) and Oskar Kokoschka (1886-1980), three masters who contributed their fantasies and portraits to the consolidation and assumption of new female roles, ladies, villains, nymphs, sexual and sensual women, mothers, daughters, maids, libertines ...
El Abrazo (Pareja de enamorados II), de Egon Schiele.
"The imprint of Klimt as man and artist has its origin at this time," the curator and deputy director of the Viennese museum Alfred Weidinger "Klimt moved between these areas and his art reacted to the discussion at that time about "the mystery of the woman. '" For the exhibition, which brings together more than 150 pieces (50 of each author coming from collections worldwide), the curator and New York gallerist Jane Kallir, has established four themes: the portrait, the couple (romantic), mother and the child, and the nude. The flashy, bright and golden Klimt portraits they contrast with the lonely expression, and the abandoned and silent faces and bodies from Kokoschka, but especially with the raw, naked skinny, women from Schiele, more provocative and exhibitionistic. But what also shines through this exhibition, it is the commonalities of the three, and the most obvious: the three believed in romantic love.
Retrato de Elisabeth Reitler, de Kokoschka.
Klimt/Schiele/Kokoschka y las mujeres.
Belvedere Inferior, Orangerie (Belvedere - Unteres Belvedere & Orangerie)