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SCHIELE, ‘BODY AND SOUL’
A SUMMER OF ART The summer is generous with exhibitions; it is just that in Mallorca everything adapts
to the season and its customs. This means that much activity moves out of Palma to other parts of the island. This
decentralisation is obvious in the field of art. Despite this, the city does not take a break and this summer we will
be able to enjoy a wide range of art, from the photographs of the Telefonica collection to the classic engravings
of Goya and Picasso and Egon Schiele’s ‘Body and Soul’ SOMMERKUNST Das Ausstellungsangebot des
Sommers ist grosszügig. Das Zentrum der Aktivitäten verlagert sich von Palma auf den Rest der Insel. Diese
Deszentralisierung wird im künstlerischen Bereich deutlich. Die Hauptstadt jedoch erhält weiterhin ihr Angebot
aufrecht und in diesem Sommer wird man von den Fotografien der Telefonica-Sammlung bis zu den klassischen
Radierungen von Goya und Picasso oder auch Egon Schieles ‘In Körper und Seele’ sehen könne.
TEXT: VIOLETA PICAZO
Egon Schiele, ‘Male nude seated’ / ‘Männlicher Akt, sitzend’, 1910.
16
THE EXHIBITION IS TITLED
‘BODY AND SOUL’:
THE AUSTRIAN PAINTER WAS
A MASTER AT DRAWING
THE LINES OF
THE HUMAN BODY
‘Body and soul’ is the title of the
exhibition of fifty works by Egon
Schiele (Tulln, 1890) that the passerby
will be able to enjoy at the Museu
d’Art Espanyol Contemporani (Fundación
Juan March). It is called this
because the Austria painter was a
master at drawing the lines of the
human body. In the show due to be
seen on the island, his work on paper
reveals him, the maestro of Viennese
expressionism, to be intense when it
comes to portraying the folds, not just
of the skin that covers us, but of the
inner recesses of the soul. His distorted
lines, the forceful expression indicating
the movement lodged in all our
bodies help Schiele to probe what is
not on view at first sight: the spirit,
the human condition. The impact
made by Maxer and Ludwig Karl
Strauch when he was young, which
would later become more intense in
the maternal lands of Krumau, and
his relationship with Klimt were to
mark the beginning of his painting.
Portraits and landscapes – those
made of the bridge at Triste were very
frequent at the time – are evidence of
his drawing closer to the Jugendstil
movement.
In 1908 he was invited to take part in
an exhibition at Klosterneuberg. A
year later he took part in a collective
exhibition at the Vienna Internationale
Kunstchau alongside Munch,
Toorop, Matisse, Bonnard, Vuillard,
van Gogh and Gauguin. The collector
and patron Roessler became a
great fan of Schiele’s work and
ordered picture after picture from
TAUROMACHY ACCORDING
TO GOYA AND PICASSO
Seventy-six engravings by the two
artists are on view at the Museu
d’Art Espanyol Contemporani,
forty by the painter from Aragon
and the rest by Picasso.
For Goya, the Bullfight was a
parenthesis in his most dramatic
work, as captured in ‘The Disasters
of War’ and the mystery of the
‘Disparates’. According to
Lafuente Ferrari, in the bullfight
engravings we can see a disenchanted
Goya who found in bullfighting
an escape valve, a reunion
with his passion for life. ‘Tauromachy’
is not as grandiose as some
other series, but it shows his mastery
equally well in capturing the
movement of all the phases of a
bullfight. The shades of light are
intense, the shadows are tragic.
Goya captures the struggle
between man and beast with his
proverbial mastery, in one of the
most classical of all themes.
DER STIERKAMPF GEMÄSS
GOYA UND PICASSO
76 Radierungen der beiden Künstler
sind im Museu d`Art Espanyol
Contemporani ausgestellt, 40
davon sind von Goya der Rest von
Picasso.
Für Goya waren seine Darstellungen
des Stierkampfs eine willkommene
Unterbrechung seiner dramatischen
Arbeiten wie den ‘Desastres
de la Guerra’ und dem
Mysterium der ‘Disparates’. Nach
Lafuente Ferrari sieht man in den
Stierkampf-Radierungen einen
desillusionierten Goya, der in den
Stierkampf-Feiern eine Ablenkung
und eine Wiederbegegnung mit der
Lebenslust fand. Die Stierkampfbilder
sind Beleg für seine Meisterschaft
in der Darstellung aller
Bewegungen des Festes. Licht und
Schatten sind intensive, die
Düsterkeit ist tragisch. Goya stellt
mit der sprichwörtlichen Meisterschaft
den Kampf des Menschen
mit der Bestie dar, eines der klassischen
Themen par excellence.
FUNDACIÓN JUAN MARCH.
MUSEU D’ART ESPANYOL CON-
TEMPORANI C/Sant Miquel, 11. Palma.
Admission free/Eintritt frei. Monday-
Friday / Montag-Freitag, 10.00-20.00.
Saturdays, morning only / Samstag, morgens.
‘Tauromaquia. Engravings by
Goya and Picasso’. 5 -17/ 07/ 05.