NEW YORK, NY.- Neue Galerie New York will present "Egon Schiele: Living Landscapes," a special exhibition opening on October 17, 2024. This show will investigate the importance of landscape in the Austrian artist's work. Plants, natural environments, and townscapes determine the spaces Egon Schiele created in his paintings, and they also reflect the rich symbolism he employed that is centered around the human condition. In particular, plants are often endowed with an allegorical meaning. Flowers and trees assume the role of portrait subjects and convey an almost human appearance. Schiele’s landscapes always represent more than their apparent subject matter. His portrayal of nature and his rendering of towns and trees epitomize the life cycle and the human condition. The exhibition will be on view at the Neue Galerie through January 13, 2025.

Schiele is arguably best known for his portraits, but he was also a gifted landscape painter. Even while a child, Schiele was a keen recorder of nature. As an adult, the Expressionist artist frequently sought escape from the pressures of life in Vienna, and found relief in rural surroundings. Beginning in the summer of 1910, Schiele made several trips to Krumau (today Česky Krumlov, Czech Republic), his mother’s birthplace in Bohemia on the Moldau River. Schiele gravitated toward highpoints on the outskirts of town where he could look down and have a bird’s-eye-view of the city and its inhabitants.

His rapturous painting, Town among Greenery (The Old City III), one of the masterworks presented in the exhibition, is depicted from such a vantage point. While the exact location of this scene is unclear, it most likely represents an imaginative and composite creation based upon Schiele’s study of Krumau and its environs. Here, the city is sandwiched between dense and verdant clusters of trees. Uncharacteristically, Schiele has even populated the vibrantly hued streets with figures immersed in the details of daily life.

Krumau, a picturesque Renaissance town with distinctive interlocking buildings and historic structures, captivated him. He also collected postcards of Krumau, which became a part of his creative process. In the example shown here, he blocked out a grid in pencil of the portion that he wanted to paint — an aide-mémoire for when he resumed work at his easel.

Schiele sometimes adopted a frontal approach for his townscapes. The 1913 canvas, Stein on the Danube, Seen from the South (Large), falls under this category. In this instance, Schiele made two small panel paintings before embarking on the larger canvas, shown above. This work was completed in his studio by June 1913. Compositionally, it has a strong linear framework and is arranged in horizontal bands of color in a limited palette composed of browns and dull greens, which are enlivened with bright patches of blue, emerald green, and red. The murky Danube River in the foreground gives way to a lush riverbank that yields to the town beyond. In the distance, terraced vineyards hint at the importance of viniculture to this region. Two prominent church towers loom over the scene and provide a counterbalance to the dominant horizontality of the picture. Schiele was especially proud of the finished picture and was reluctant to part with it. He proclaimed that it deserved a place “in the gallery of a person with a deep appreciation for art.” Under financial strain, he reluctantly sold it to collector Franz Hauer.

On occasion, Schiele shifted his lens from a macro to a micro view, and focused his attention on singular plants and trees. Sunflowers were among his favorite motifs. He painted them in all stages of life — in full bloom to brown and withering. It is easy to imagine that his intention was to imbue these flowers with anthropomorphic characteristics. Schiele may well have been inspired by the example of Vincent van Gogh, whose work was shown in Vienna during Schiele’s lifetime, including in both 1906 and 1909.

Schiele also found resonance in emotive portraits of trees. Such pictures capture the desolate quality of late autumn, especially his series of spindly and seemingly lifeless trees. Schiele offered his personal impression of this shift between seasons: “I often cried with half-opened eyes when autumn came.” Such words are even more poignant given that Schiele died on October 31, 1918, just days after his pregnant wife Edith passed away herself. They were both victims of the influenza pandemic.

Schiele’s landscapes are imbued with an existential message about the human condition. The hope and promise of spring and summer give way to decay and death before the cycle renews again. Hence, these luminous paintings are emblematic of life itself and carry universal implications.