• Countryside, 2011 - Vezur
  • Portrait of Ida Rubenstein, 1910
  • The Star, 1878
  • Flowers in a Vase, 1866
  • Daisy fields, 2011 - Vezur
  • The Woman Friends, 1917
  • Anemones, 1909
  • Sunflowers, 1888
  • Impression, Sunrise, 1872
  • The Midday Nap, 1894
  • Portrait Of The Painter Max Oppenheimer, 1910
  • The Hope II, 1908
  • Seacoast at Engure, 2011 - Vezur
  • Riga in Blue, 2011 - Vezur
  • Lane at the Jardin du Luxembourg, 1886
  • Independence Day, 2011 - Vezur
  • The Vision after the Sermon, 1888
  • Evening on Volga, 1888
  • Buckwheat Harvesters at Pont-Aven, 1888
  • Madame Pompador, 1915
  • Winter, 2011 - Vezur
  • The Sleeping Gypsy, 1897
  • Gloomy Situation, 1933
  • The Haymaker, 1886
  • Poppies at Argenteuil, 1873
  • San Giorgio Maggiore at Dusk, 1908
  • Reclining Semi-Nude with Red Hat, 1910
  • Saint John, 1892
  • Dancers in Blue, 1890
  • Riga at Night, 2011 - Vezur
  • Lady with fan, 1918
  • Spring, 1879
  • Girls, 2011 - Vezur
  • Embrace aka Lovers II, 1917
  • Midsummer Festival, 2011 - Vezur
  • Lady of the Flowers, 1895
  • Dancers, 2011 - Vezur
  • Standing Girl in a Plaid Garment, 1909
  • Moonlight, 1874
  • Self Portrait with Hands on Chest, 1910
  • Melancholy, 1874
  • Yellow Circle, 1926
  • The Sky, 2011 - Vezur
  • Paris Street - Rainy Weather, 1877
  • Goldau, 1843
  • Wanderer above the Sea of Fog, 1818
  • River bank, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • Antibes Seen from the Salis Garden, 1888
  • Breath of the Earth, 2011 - Vezur

Self Portrait with Hands on Chest, 1910

Self Portrait with Hands on Chest, 1910

Egon Schiele

Schiele, in terms of the figural and figurative options available to the self-portrait, comes at a final point in a process of evolution, a point at which the self is in fact experienced as divisible – as dividual, so to speak. With the exception of early works dating from 1905 to 1907, Schiele`s self –portraits no longer fit very well into either the category of autobiographical reportage or that of hero-worship of the self. The poses he strikes in them are extraordinary, his gestures highly affective, and the portraits deny and dismantle the oneness of the self. A tension is created between the actual self and the self seen in alienated form in the picture, and this tension attests not the confirmed certainty of individual identity but rather its end. Some of the self-portraits may recall Oscar Wilde`s „The Picture of Dorian Gray” (1890), in which the painted self grows older while the beauty of the real self remains unchanged. The novel makes so powerful an impact because it reverses the normal relation of sitter to painted image: the image becomes the true mirror of the soul, revealing traits the living original does not. Plainly Schiele`s contemporaries occasionally felt something of the kind when they considered his self-portraits. Friedrich Stern, for instance, wrote in a review dated 11 November 1912: „And he has a self-portrait which is difficult to make out for the simple reason that the rot he feels he must show his youthful face in the grip of has advanced too far. It`s all very sad ...” So the image in his mirror served Schiele not as a way of fixing his identity but to promote the quest for the other self he portrayed in his pictures.

Reinhard Steiner, "The Midnight Soul of the Artist", 2000.

The painting will be delivered unstreched, rolled in protective & presentable case.