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MART

museo di arte moderna
e contemporanea
di trento e rovereto

  • Egon Schiele - La cittŕ morta, 1912
  • Egon Schiele - Ritratto di Eduard Kosmack, 1910
  • Gustav Klimt - Giardino con girasoli, (1907)
  • Gustav Klimt - Giuditta I, 1901
  • Oskar Kokoschka - I ragazzi sognatori, 1908
  • Ritratto di Egon Schiele (fotografia di Johannes Fischer)

Schiele, Klimt, Kokoschka and Viennese friends

 
Mart Rovereto
07 October 2006 / 08 January 2007
"Art cannot be modern, because it is eternal"
Egon Schiele
The exhibition presents over 120 works from Österreichische Galerie Belvedere, Vienna, and other prestigious Austrian and German museums, comprising paintings, drawings and sculptures, many of which never exhibited before in Italy, illustrating the life and work of Egon Schiele, one of the most celebrated exponents of expressionist art.
 
T

his is a major opportunity to explore the development of the great Austrian artist, but also to learn about the cultural setting of Vienna at the turn of the last century, through the works of the group of artists who, with Schiele, helped renew modern art.
Gustav Klimt, Schiele’s friend and mentor, is certainly a central figure
for the artistic development of the young Schiele. Klimt was his teacher, and Schiele drew inspiration from him, although soon abandoning the former’s undulating lines decorated with gold and plant motifs in favour of a cruder, harder realism expressed above all through portraits and nudes.
 

 

The cultural setting in which the young Schiele lived and worked – presented in this exhibition – offers a new overview of his work, proposing interesting comparisons with the artistic production of his contemporaries. These are his friends, also working in the avantgarde movement, such as Gustav Klimt, Oskar Kokoschka, Anton Faistauer, Anton Kolig, Carl Moll, Koloman Moser, Max Oppenheimer and Anton Peschka, who were to accompany him in his artistic development, starting with the Jugendstil and later “opening out” into Viennese expressionism.
The Mart exhibition, curated by Tobias G. Natter and Thomas Sharman under the direction of Gabriella Belli, ends with a section dedicated to the 49th Exhibition of the Viennese Sezession of March 1918, in which Egon Schiele, just a few months away from his premature death in the Spanish Flu epidemic, gained major success and critical recognition.

Scientific direction Gabriella Belli
Curated by Tobias G. Natter, Tomas Sharman, Thomas Trummer
Co-produced with Österreichische Galerie Belvedere, Vienna