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Gustav Klimt, Standing Lovers, 1907-08. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.<\/p><\/div>\n
It was in 1906 when the young and insightful Egon Schiele (1890-1918) arrived in Vienna for the first time to pursue his desires of becoming an artist. When he first met Gustav Klimt (1862-1918) in 1908, Klimt was already a well-settled artist who Schiele profoundly admired. It is in the Royal Academy\u2019s sensuous, compelling and captivating collection of drawings and studies, where the passion of these two men meet.<\/p>\n
At the start, the exhibition seems to portray what they both have in common. Klimt\u2019s early studies glorify the female body, his subtle line becomes nearly imperceptible, reducing all the complexities of the human shape to mere strokes, making them incredibly delicate. Schiele, heavily influenced by Klimt\u2019s golden period, captures Klimt\u2019s essence depicting female nudity in an ideliased way. Nonetheless, as the show goes on, the differences between the two artists become evident. Schieles\u2019s drawings of Viennese prostitutes and his own self-portraits are an unsettling portrayal of his art. However, it is Schiele\u2019s prison series, where he draws his surroundings, which becomes remarkably disturbing. He studies the walls, the cell door and cleaning his brushes, and his mood is exquisitely captured by the emptiness of the room.<\/p>\n
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Gustav Klimt, Standing Female Nude (Study for the Three Gorgons, “Beethoven Frieze”), 1901. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Art, London and the Albertina Museum, Vienna.<\/p><\/div>\n
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Egon Schiele, Seated Female Nude, Elbows Resting on Right Knee, 1914. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.<\/p><\/div>\n
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Egon Schiele, The Cellist, 1910. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.<\/p><\/div>\n
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Both Schiele and Klimt understood deeply the complexities and the beauty of the human form, however it is the way they approach it, which makes them so intrinsically distinct. In one of Schiele\u2019s paintings of a nude prostitute with truncated arms, there is a troubling touch which is nearly palpable. It is not veneration for the female body, it\u2019s raw to its essence but it becomes impossible not to look. That is, one of his aims after all; to provoke. Klimt is different. He draws women who seem to be floating, they are these beautiful, ethereal floating figures which evoke nothing more than sensuality. It is a continuous exploration of the human body for both artists, as Schiele said: \u201cThe figure is after all the most essential, and what gives me the greatest satisfaction, the human body\u201d.<\/p>\n
It is this intense exploration of their minds and passions which make the Royal Academy\u2019s exhibition so alluring.<\/p>\n
The exhibition will be running from 4 November 2018-3 February 2019<\/p>\n
Words: Raquel Pacheco\u00a0| Subbing: Nia Tyrell\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" This lavish collection from the Austrian painters, young Egon Schiele, and masterful Gustav Klimt, reveals an enduring journey through their minds. Two figures embracing each other lovingly. It\u2019s tender but there\u2019s a touch of sadness…<\/p>\n","protected":false},"author":476,"featured_media":27300,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8,10,47],"tags":[],"class_list":["post-27287","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-arts","category-exhibition-entertainment"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/posts\/27287","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/users\/476"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/comments?post=27287"}],"version-history":[{"count":0,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/posts\/27287\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/media\/27300"}],"wp:attachment":[{"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/media?parent=27287"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/categories?post=27287"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/thevoiceoflondon\/wp-json\/wp\/v2\/tags?post=27287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}