Die Umarmung (1917)

Die Umarmung (1917)
Egon Schiele
Austria

The painting "The Embrace (Lovers II, Man and Woman)" by Austrian painter Egon Schiele, from 1917 (a year before Schiele's death) is painted in oil on canvas and measures 100 x 170 cm. It is unmarked and located in the Belvedere in Vienna.

This painting depicts, as the name suggests, naked lovers on a crumpled white cloth, which runs diagonally from the upper right corner to the lower left corner and on a not-defining yellow-brown background is. A white-skinned, lying on his back, the woman replied embrace of a black-skinned man who is only seen from behind. Neither person looks directly at the viewer. The couple are completely focused on himself.
Schiele's paintings looks very dynamic, mostly diagonal or oblique lines are identifiable. Even the wild brush strokes and the tangled folds of the blanket underline the dynamic. Especially the dirty yellow-brown background is very restless. The dark hair of the woman form a light-dark contrast with the white cloth. But the two bodies in their different skin colors relate to each other in contrast. The couple and their support act very vividly, because the body is very well prepared. The background contrast effect surface. By duplication, as seen for example in the drapery, the image is spatially ( except for the background ). Particularly striking in the image plane is the contact between two people with different skin colors. That the two parties are shown together in an embrace, suggesting that the. Two accept and respect each other They are not distinguished. Also, the fact that they are both naked and so vulnerable to certain manner, indicates equality. It is also worth mentioning that the work was written during the First World War. But not only the sad war sentiment, but Schiele's personal melancholy have been incorporated into the image. Maybe the two protagonists sad and embrace reason for consolation - that could be a possible interpretation, because the people do not look to the viewer. The passionate attitude is limited. Rather cramped. Even the unnatural strongly crumpled cloth may be a hint to Schiele and his inner agitation on the chaos caused by the war. 1910 Schiele wrote about his hometown: " In Vienna's shadow, the city's black ... "*. Perhaps the white cloth could also stand as a symbol of security, as the pair is placed in the center and on all sides by protected material is protected by the nondescript yellow-brown ground is ( the couple is soft bedded ). Because of the wild brush rhythm and dynamics can classify the painting in the expressionism. The relatively edged contours ( especially the body ) have this period to and is in contrast to the otherwise curved decorative lines secessionist which at the same time ( especially in Vienna was popular). Other typical features of Expressionism, such as extreme colors met, the painting is not. Of a " doomsday scenario "can be considered in turn. ( quote from PAN 7/86, Articles of Dichand)(Farbwahn.blogspot.in)