About Egon Schiele Skateboard Triptych – Musart on Decks – Self-Portrait with Peacock Vest, Standing (1911)
Musart Boutique is proud to present our exclusive original collection Musart on Decks featuring limited edition skateboard decks, displaying art historical timeless masterpieces which bridge the traditional history of art and contemporary skateboarding culture at accessible prices. Part of Musart Boutique’s original collection Musart on Decks comes this limited edition of 100 Egon Schiele Skateboard Deck Triptych. It features his notorious work Self-Portrait with Peacock Vest, Standing (1911). Egon Schiele’s work Self-Portrait with Peacock Vest, Standing (1911) is one of the most unusual works in his career.
Unlike most of his self-portraits, Schiele does not represent himself naked in a state of misery, despair, and grievance. Rather, we observe Schiele in an almost arrogant, proud, smug stance. A white aureole surrounds Schiele’s head, resembling images of saints or Byzantine fresco representations of Christ. Like other members of the German Expressionist movement (i.e. Gustav Klimt), Schiele was influenced by Nietzschean philosophy. In his belief that art and the artist can bring salvation to humanity. It is the first time we see in Schiele’s oeuvre, the V-Shaped gesture of his hand, in front of the solar plexus of his chest.
About Schiele Skateboard triptych
More details on Egon Schiele Skateboard Triptych – Musart on Decks – Self Portrait with Peacock Vest, Standing (1911):
- Musart on Decks, Self-Portrait with Peacock Vest, Standing (1911), Triptych Limited edition of 100, Skateboard Deck Sets.
- Material: 100% Canadian/American Maple wood.
- Measurements Mellow Concave Skateboard set of 3: (Angles) Approx. 19.25º nose and 18.5º tail with a medium center concave. (Dimensions) 32″H x 8″L x 0.5″W Inches (est.)
- Weight: 8.14 lbs (est)
- Additional Features: Includes Skateboard Deck Display wall mounts.
- Photo Credits: © Egon Schiele, Self-Portrait with Peacock Vest, Standing (1911). Found in the collection of Albertina, Vienna. Photo Credit: HIP / Art Resource, NY.
Egon Schiele and Gustav Klimt
Like Gustav Klimt and his lavish use of gold leaf, Egon Schiele also took inspiration from Byzantine religious art. This gesture resembles the blessing hand gesture of Christ Byzantine representations, such as the Christ Pantocrator fresco found at the Chora Church in Istanbul. It is also noteworthy to mention that it is likely that the vest worn for this self-portrait, did not belong to Schiele and that the white collar on his vest was most likely cut out from paper. This portrait was made during a time of extreme poverty for Schiele, while he was living with his life companion, Wally.
From this, we can argue that Schiele’s artwork is not a mere representation, a mirror image of reality, but an invention.
About Egon Schiele
Egon Schiele was associated but not part of the German Expressionist movement. During his tragic but prolific career, Schiele produced more than 3,000 paintings and drawings. Most of these paintings and drawings consist of nude figure studies of men and women in gouache and watercolor on paper. It includes approximately a hundred self- portraits. Much like other 20th-century German Expressionist artists, Schiele’s figure studies and self-portraits evidence a strong interest in emotional and psychological states.
As a teenager, Schiele watched the slow, painful death of his father at 15 years old after contracting syphilis. Schiele began his artistic formal training the year after his father died. He enrolled in Vienna’s Academy of Fine Art in 1906, where he became the protégé of Gustav Klimt, who invited Schiele to exhibit some of his works with his own, and those of, among other artists: Vincent Van Gogh and Edvard Munch. Although Klimt and Schiele remained close throughout their careers, and that Klimt deeply influenced Schiele’s art, he did not fully share Klimt’s inclination towards the decorative.
When Schiele exhibited with Van Gogh and Munch, their emotional content made a deep impression on him. However, eventually, Schiele surpassed all of his contemporaries, including Van Gogh and Munch in the portrayal of emotional states and tormented psyches through the representation of withered bodies. Schiele’s tragic life ended when he contracted the Spanish Flu in 1918, he was only 28 years old.