Egon Schiele’s art is charged with intensity—his figures are stripped bare, not just physically but emotionally, exposing a world of tension, desire, and fragility. His jagged lines and exaggerated forms reject traditional ideals of beauty, instead confronting the viewer with something raw, something unsettling. As a leading figure in Austrian Expressionism, Schiele’s work remains deeply psychological, navigating themes of isolation, eroticism, and mortality with an unflinching gaze.
Born in 1890 in Tulln, Austria, Schiele trained at the Vienna Academy of Fine Arts but found its academic approach restrictive. His meeting with Gustav Klimt in 1907 changed everything—Klimt recognised his talent, offering guidance and introducing him to collectors who would support his early career. While Klimt’s influence is apparent in Schiele’s early works, he quickly abandoned the decorative elegance of the Vienna Secession in favour of something more visceral and immediate. His figures contort unnaturally, their expressions wavering between vulnerability and defiance, their outlines charged with nervous energy.
This selection of ten key works explores the range of Schiele’s vision, from his unrelenting self-portraits to his striking studies of the human form. These pieces reveal not just his artistic evolution but also the intensity with which he approached every line and composition.
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Self-Portrait with Striped Shirt, by Egon Schiele
1. Self-Portrait with Striped Shirt (1910)
Egon Schiele’s Self-Portrait with Striped Shirt (1910) is an unfiltered confrontation with the artist himself—direct, vulnerable, and defiant. His piercing gaze meets the viewer head-on, his lips curled in the faintest of smirks, as if challenging us to decipher his thoughts. The striped sleeves of his shirt are meticulously rendered, yet the chest remains an empty void, a deliberate omission that draws attention to his gaunt features and angular frame. The muted tones of red, green, and yellow used to sculpt his face create a haunting, almost spectral effect, reinforcing the sense that this is not just a physical likeness, but a psychological study.
Schiele was only 20 years old when he painted this self-portrait, but his style had already departed from the academic training of the Vienna Academy. Influenced by Gustav Klimt’s decorative elegance, yet rejecting its refinement, Schiele instead embraced raw, exaggerated lines and expressive distortion. His use of black chalk and gouache on paper lends the piece an immediacy, a sense of urgency as if it were both an assertion of identity and an exploration of self-doubt. Currently housed at the Leopold Museum in Vienna, this portrait encapsulates Schiele’s ability to turn self-scrutiny into a dramatic, arresting composition—one that continues to provoke and unsettle more than a century later.
Kneeling Girl, Resting on Both Elbows, by Egon Schiele
2. Kneeling Girl, Resting on Both Elbows (1917)
Egon Schiele’s Kneeling Girl, Resting on Both Elbows (1917) captures a moment of quiet intensity, where the body itself becomes a vessel for emotion. The figure is positioned in a pose that is both vulnerable and defiant—her knees drawn in, torso curled forward, resting on her elbows as if lost in thought. Schiele’s unforgiving black chalk lines exaggerate the model’s angles, distorting her form in a way that feels both intimate and uncomfortably direct. There’s no attempt to idealise the body; instead, Schiele presents the human form in its raw, unfiltered state, challenging traditional notions of grace and modesty.
The simplicity of the background heightens the emotional weight of the composition, isolating the subject in a void-like space. Her garment is pushed up, exposing her bare skin, but the eroticism often present in Schiele’s nudes is replaced here with something more introspective—almost melancholic. His use of gouache and black chalk on paper lends the piece an immediacy, a sense of a moment captured in time rather than a posed, polished portrait. This is what makes Schiele’s work so striking: it is never just about representation, but about the human experience in its most exposed and uncertain state.
Edith with Striped Dress, Sitting, by Egon Schiele
3. Edith with Striped Dress, Sitting (1915)
In Edith with Striped Dress, Sitting (1915), Egon Schiele captures his wife, Edith Harms, in a portrait that stands apart from much of his work. Unlike the raw, angular distortions of his self-portraits and nudes, this composition is softer, more restrained, offering an intimate yet slightly detached portrayal of Edith. She sits composed, hands folded in her lap, dressed in a boldly striped gown that dominates the composition. The vibrant, contrasting bands of colour in the fabric immediately draw the eye, a striking contrast to the subdued background. This choice of attire and palette breaks from Schiele’s typical earthy, muted tones, bringing a liveliness to the piece that feels both affectionate and deliberate.
Despite its seemingly tender nature, there is still a distance between artist and subject. Edith’s gaze is calm but distant, her expression neither inviting nor revealing. Unlike Schiele’s more eroticised portraits of other women, this depiction is more formal—a study in presence rather than intimacy. The detailed rendering of the dress suggests Schiele’s admiration for its form and structure, but the face remains relatively simplified, almost secondary to the fabric’s weight and movement. Whether this was an intentional reflection of their complex marriage or simply an artistic choice, Edith with Striped Dress, Sitting remains a fascinating portrait, bridging Schiele’s expressive style with a moment of quiet contemplation.
Kneeling Female in Orange-Red Dress, by Egon Schiele
4. Kneeling Female in Orange-Red Dress (1910)
Egon Schiele’s Kneeling Female in Orange-Red Dress (1910) is an electrified study of tension, both physical and emotional. The figure is twisted in an unnatural, almost contorted position, her body coiled inward as if bracing against an unseen force. Schiele’s characteristic exaggerated lines and abrupt angles create an unsteady balance, making the composition feel almost volatile. Unlike the softer curves found in traditional portraiture, the subject’s form is taut, sharpened by his expressive, urgent strokes. Her face, partially obscured, fixes the viewer with a piercing, one-eyed gaze, a moment of connection that is both confrontational and enigmatic.
The bold orange-red of the dress dominates the scene, pulsing with an intensity that seems to radiate outward. Schiele frequently used orange hues to evoke emotional extremes—passion, restlessness, and anxiety—and here, that effect is heightened by contrasting flashes of green and blue. The background remains deliberately blank, ensuring that all focus stays on the body, its posture, and its expression. Part of the Leopold Museum’s collection, this portrait is emblematic of Schiele’s ability to transform a simple seated figure into a psychological battleground, capturing movement, emotion, and instability all at once.
Standing Nude Girl with Orange Stockings, by Egon Schiele
5. Standing Nude Girl with Orange Stockings
Egon Schiele’s Standing Nude Girl with Orange Stockings is both striking and confrontational, a piece that encapsulates his ability to strip the human form down to its most raw and unfiltered state. The model stands upright, completely exposed except for the vibrant orange stockings that dominate the composition. Schiele’s sharp, angular lines exaggerate the figure’s elongated limbs and bony frame, giving her a sense of both fragility and defiance. Unlike classical depictions of the nude, which sought to idealise the body, Schiele’s approach is unapologetically direct, his subject staring outward as if meeting the viewer’s gaze head-on.
The orange stockings serve as more than just a stylistic choice; colour played a significant role in Schiele’s emotional language. Throughout his career, he often used bold oranges to suggest intensity, sensuality, or even unease. Here, they act as the single point of contrast in an otherwise muted palette, drawing the viewer’s eye while further emphasising the stark vulnerability of the exposed body. Schiele’s unconventional take on the nude was radical in his time, challenging ideas of beauty and morality in art. With its combination of sensuality and tension, Standing Nude Girl with Orange Stockings is a perfect example of his ability to provoke, unsettle, and redefine artistic boundaries.
Writing Desk in Prisoner-of-War Camp Mühling, by Egon Schiele
6. Writing Desk in Prisoner-of-War Camp Mühling (1916)
Egon Schiele’s Writing Desk in Prisoner-of-War Camp Mühling (1916) offers a rare departure from his usual subject matter, replacing his haunting self-portraits and provocative figures with an intimate glimpse into his wartime reality. The piece, drawn with pencil, gouache, coloured ink, and crayon, captures a cluttered writing desk, filled with papers, books, and official seals—tools of his unexpected military role. Conscripted into the Austro-Hungarian Army in 1915, Schiele’s frail health and precise handwriting spared him from combat, instead assigning him to clerical duties at a prisoner-of-war camp in Mühling. Though the war stripped him of artistic freedom, he found a way to document his surroundings, turning the monotonous reality of administration into a carefully composed study of objects.
Unlike his emotionally charged portraits, this composition exudes stillness and restraint, yet Schiele’s distinctive hand remains evident in the sharp outlines and keen attention to detail. There’s an underlying tension in the scene—papers and books teeter on the edge of disorder, reflecting both the demands of his position and perhaps an internal restlessness. The piece, now housed in the Leopold Museum, provides a historical and deeply personal insight into Schiele’s experience of war. While far from his usual depictions of the human form, Writing Desk in Prisoner-of-War Camp Mühling remains an important testament to the artist’s resilience and ability to find creativity in even the most constrained circumstances.
7. Procession (1911)
Egon Schiele’s Procession (1911) stands apart from his more intimate figurative studies, offering instead a stark commentary on society, power, and human suffering. The composition is dominated by a prominent clerical figure, a looming presence that seems to embody authority, tradition, and control. Juxtaposed against this is another figure, slumped and seemingly overwhelmed, a study in despair or submission. The scene feels less like a depiction of a literal event and more like an allegory—a procession not just through the streets, but through life itself, marked by dominance, suffering, and silent resistance.
Schiele’s distinctive use of line and exaggerated form is on full display here. The figures are contorted yet expressive, rendered with a nervous energy that disrupts traditional religious imagery. His Expressionist approach strips away idealisation, instead exposing the harsh emotional weight of the moment. The work’s symbolic power lies in its deliberate ambiguity—is this a scene of faith, oppression, or something in between? Like much of Schiele’s work, Procession does not dictate a single meaning but rather compels the viewer to engage with its tension and unease. It is a study of power and vulnerability, one that remains just as potent today as it was in early 20th-century Vienna.
Artist's Wife with Her Nephew (1915)
8. Artist's Wife with Her Nephew (1915)
Egon Schiele’s Artist’s Wife with Her Nephew (1915) offers a rare glimpse into the artist’s personal life, portraying his wife, Edith, gently embracing their young nephew. This watercolour stands apart from Schiele’s often intense and provocative subjects, presenting instead a moment of familial warmth and quiet affection. Edith’s gaze toward the child is soft and protective, their close physical proximity reinforcing the depth of their emotional bond. While Schiele is known for exploring themes of desire, tension, and psychological unrest, here he turns to something far more tender and introspective.
Rendered in soft pastel hues, the painting exudes delicacy and warmth, with Edith’s form drawn in fluid, elegant lines that contrast with the more defined contours of the child. This subtle stylistic shift places emphasis on the innocence of youth, while the muted background ensures the intimate interaction remains the focal point. The piece is a testament to Schiele’s artistic range, revealing that, despite his reputation for raw and confrontational imagery, he was equally capable of capturing the subtleties of love, care, and human connection.
Stylised Flowers in Front of Decorated Background, by Egon Schiele
9. Stylised Flowers in Front of Decorated Background (1908)
Egon Schiele’s Stylised Flowers in Front of Decorated Background (1908) offers a glimpse into the artist’s early development, revealing a moment when his artistic identity was still forming. Created during his time at the Vienna Academy of Fine Arts, this piece is heavily influenced by the Art Nouveau (Jugendstil) movement, particularly echoing the work of Gustav Klimt, his mentor and the leading figure of the Vienna Secession. Unlike Schiele’s later, raw explorations of the human form, this painting is ornamental, highly structured, and rich in decorative detail—a reflection of the artistic climate in Vienna at the time.
The composition features a boldly stylised plant, rendered in deep purple and orange hues, standing against a shimmering gold and silver background. The leaves, depicted in anti-naturalistic colours, bulge and twist around the stem, giving the image a three-dimensional effect, as if the plant is emerging from the canvas itself. This structured, almost sculptural approach foreshadows Schiele’s later emphasis on the human body, with its heightened contours and exaggerated forms. Though visually aligned with Klimt’s golden, decorative style, this work hints at Schiele’s growing independence, as he began to move away from ornamental beauty and toward the expressive distortions that would define his mature work.
Seated Woman with Legs Drawn Up, by Egon Schiele
10. Seated Woman with Legs Drawn Up (1917)
Egon Schiele’s Seated Woman with Legs Drawn Up (1917) is an intimate, unguarded portrait of his wife, Edith Schiele, rendered with an immediacy that feels both tender and deeply psychological. Unlike traditional seated portraits, where figures are posed formally, Edith is depicted in a casual, almost introspective stance—one knee drawn up, her cheek resting against it, while her other leg extends outward. Her fiery red hair contrasts sharply with the deep green of her loose blouse, a colour combination that intensifies the composition’s emotional charge. Schiele’s signature bold, contoured lines exaggerate the pose, giving it an almost sculptural quality, while her direct, unwavering gaze pulls the viewer into a moment of quiet intensity.
Schiele’s use of gouache, watercolour, and black crayon on paper creates a raw, expressive texture, his visible brushstrokes adding a mottled effect to Edith’s skin, hair, and clothing. The background is left intentionally blank, isolating the figure in space and drawing all focus to the complexity of her expression and body language. Unlike conventional portraits that idealise the sitter, this piece challenges passive femininity, presenting Edith in a way that is both strong and vulnerable. Currently housed in the National Gallery in Prague, Seated Woman with Legs Drawn Up remains one of Schiele’s most poignant explorations of human intimacy, capturing the delicate tension between presence and solitude.
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Egon Schiele’s work is not easily forgotten. His jagged lines, unfiltered emotion, and radical approach to the human form continue to challenge and captivate audiences over a century later. From the psychological intensity of his self-portraits to the quiet tenderness of his family studies, Schiele’s art refuses to conform to tradition, instead offering an unvarnished look at desire, vulnerability, and the raw complexity of existence. His nudes—often controversial—strip away not just clothing but pretence and idealisation, exposing the human condition in a way few artists have dared.
Yet, Schiele was more than just an enfant terrible of Austrian Expressionism. His work evolved, embracing moments of warmth, colour, and reflection as seen in his later portraits and still life work. Even in pieces where the subject is absent, like his writing desk sketch from Mühling, we glimpse his restless mind, forever observing, forever translating life onto paper. Though his career was tragically brief—cut short at just 28 years old—Schiele’s influence has endured, shaping modern figurative art and continuing to provoke, unsettle, and inspire.
His legacy is one of fearless honesty, an artist who saw beauty not in perfection, but in imperfection, distortion, and truth.
