Galerie bei der Albertina, Vienna
Acquired from the above in 2001

Jane Kallir, Egon Schiele: The Complete Works, New York, 1990, recto no. D 1589, illustrated p. 533 & verso no. D 1510, illustrated p. 524
Jane Kallir, Egon Schiele: The Complete Works, New York, 1998, recto no. D 1589, illustrated p. 533 & verso no. D 1510, illustrated p. 524

Jane McAusland March 17, 2016 This double sided drawing is on a sheet of wove-type simile Japan paper showing the watermark Strathmore. Both left and right sides show the deckle edge of the handmade sheet. There is some discolouration to the sheet, which is unusual, the buff coloured wash appears to be a type of dye that penetrates through the paper and the same unevenness is visible on both sides. Also there is a lighter area on the edges, which indicate that it might have been brushed on while the drawing was in the mount. It is a very unusual phenomenon, something I have not come across before in Schiele drawings. Apart from the above the sheet has suffered at the edges from surface dirt and there are creases throughout the paper. Medium The recto shows some surface loss to the graphite medium. The drawing of the man on the verso does not have this problem. Note: This work was viewed behind glass and outside studio conditions
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The work of Egon Schiele has established itself as one of the most representative examples of Austrian Expressionism. The artist developed his fascination for the nude in 1910 and never ceased to explore its erotic potential and sexual urges as a new artistic language. Painted in 1914, this important double drawing in pencil captures a woman in her most intimate postures. Egon Schiele deploys his art here and offers the spectator images tinged with a great sensitivity and endowed with an unequivocal eroticism. The artist’s obsession for the human body, its curves and the energy it releases, is enhanced in these representations of desire and intense exhibitionism.