Juxtaposition as commentary.
This is “Missy” – one of my etchings, hand-colored with gouache and watercolor.
There’s something very Schiele-ish about this – and yet it’s a softer femme than his female nudes. ❤
Knitphilia has already tackled the Schiele parallels. (For me it’s the interplay between stance, framing and the articulation of her elbows, wrists and knees more than the lines themselves.)
The circuit this flips in my head that connects it with Schiele has less to do with any of that though. Full disclosure: I am not exactly intimately familiar with Schiele’s work but: I can’t look at any of it without straining to fit it to a context that isn’t the Austro-Hungarian Empire.
What do I mean? Well, some of it reminds me of manga–probably the suffusion of shaping lines and hard, preternatural intense precision of the outlines. Others remind me of hand-drawn fashion ads from the 20s & 30s.
Looking in the other direction: you can feel the influence of Klimt more than you ever see it. Yet, what’s interesting to me is Klimt’s content was so outlandish and/or clutch-the-pearls scandalous that his use of gold leaf is too frequently attributed to decorative ends. But really, what is being missed is the similarities to Russian religious ikons. (Specifically: I am thinking of Rublev’s Trinity here.)
And that is where I notice overlap: An unblinking effort to depict not only the truth of the scene but to use whatever methods are available to convey the intensity of humanness, it’s accompanying flaws, weaknesses and also it’s dignified potential.
But I’ve had a rough week and have been awake for thirty-something hours, so maybe I am just making shit up.