{"id":2479,"date":"2017-07-21T09:00:38","date_gmt":"2017-07-21T09:00:38","guid":{"rendered":"http:\/\/blogs.plymouth.ac.uk\/artsinstitute\/?p=2479"},"modified":"2017-07-14T11:21:25","modified_gmt":"2017-07-14T11:21:25","slug":"twisted-brilliance-the-1909-1918-catalogue-of-egon-schiele-as-never-seen-before","status":"publish","type":"post","link":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/2017\/07\/21\/twisted-brilliance-the-1909-1918-catalogue-of-egon-schiele-as-never-seen-before\/","title":{"rendered":"Twisted Brilliance: The 1909\u20131918 catalogue of Egon Schiele, as never seen before"},"content":{"rendered":"
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1) Cover for the English Edition of Egon Schiele: The Complete Paintings, 1909\u20131918, edited by Tobias Natter and Petra Lamers-Sch\u00fctze, TASCHEN, 2017.<\/figcaption><\/figure>\n

Gemma Blackshaw,<\/a> Professor of Art History at Plymouth University, is an internationally acknowledged expert on the Austrian artist Egon Schiele (1890\u20131918). Her work on the sexual provocateur who shocked Viennese audiences with his explicit images of the naked and contorted body has been described in The Burlington Magazine<\/em> as \u2018densely documented, rigorously argued and delightfully astute\u2019. Her latest research on the aftermath of Schiele\u2019s imprisonment in Neulengbach in 1912 for the display of obscene drawings was commissioned by TASCHEN for its expansive XXL-format book, published in three languages in the summer of 2017, which surveys the complete catalogue of Schiele\u2019s paintings from his most innovative and prolific decade between 1909 and 1918. The Catalogue Raisonn\u00e9<\/em>, which includes over 200 paintings and 150 drawings and watercolours, many of them newly photographed, is the first to appear since Jane Kallir\u2019s Egon Schiele: The Complete Works<\/em> of 1990, and it addresses both the significant scholarly activity on the artist in the past 30 years and the subject of provenance, acknowledged as one of the most vital areas of new research on Viennese Modernism. Exceptional reproductions of Schiele\u2019s work are combined with images from private archives, a complete list of exhibitions of Schiele\u2019s painting, a complete bibliography, and essays by world-leading researchers on modern Viennese art including art historians, curators and collectors. In his introduction to the book, the editor Tobias Natter, former curator of the Austrian Belvedere Gallery and director of the Leopold Museum in Vienna, draws attention to the revisionist approach which characterises Professor Blackshaw\u2019s work and which impelled her new reading of Schiele\u2019s most \u2018private\u2019 paintings and drawings as oriented towards the decidedly masculine public for modern art in early twentieth-century Vienna: \u2018While most scholars in the past have assumed that Schiele withdrew into the private sphere after the Neulengbach affair, our author shows how he strove to transform his incarceration and exclusion from society into its opposite.\u2019 Working across the history and the gendered historicisation of modern Viennese art, Professor Blackshaw\u2019s essay is the latest of a series of publications which address the patriarchal structures of the market for modern art in \u2018Vienna 1900\u2019, and of modernism itself.<\/p>\n","protected":false},"excerpt":{"rendered":"

Gemma Blackshaw, Professor of Art History at Plymouth University, is an internationally acknowledged expert on the Austrian artist Egon Schiele (1890\u20131918). Her work on the sexual provocateur who shocked Viennese audiences with his explicit images of the naked and contorted body has been described in The Burlington Magazine as \u2018densely documented, rigorously argued and delightfully… Continue reading Twisted Brilliance: The 1909\u20131918 catalogue of Egon Schiele, as never seen before<\/span><\/a><\/p>\n","protected":false},"author":166,"featured_media":2481,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[137,3],"tags":[87,166,644],"class_list":["post-2479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-histories-memory-memorialisation","category-news","tag-art-history","tag-exhibition","tag-gemma-blackshaw","entry"],"_links":{"self":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/2479","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/users\/166"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/comments?post=2479"}],"version-history":[{"count":1,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/2479\/revisions"}],"predecessor-version":[{"id":2482,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/2479\/revisions\/2482"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/media\/2481"}],"wp:attachment":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/media?parent=2479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/categories?post=2479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/tags?post=2479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}