Egon Schiele and the Art of Popular Illustration

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A01=Claude Cernuschi
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American Sign Language
Animal Kingdom
Ariadne Auf Naxos
art historical methodology
art history
Austrian Expressionism
Author_Claude Cernuschi
automatic-update
body language
caricature
cartoons
Category1=Non-Fiction
Category=AB
Category=ACXD2
Category=AFF
Category=AGA
Category=AGB
Category=JBCC1
Category=JFCA
Category=WFA
child
children
clothing
COP=United Kingdom
cultural context illustration
Delivery_Delivery within 10-20 working days
Demarcation
Demarcation Line
Die Muskete
Double Self-portraits
drawings
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eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Expressionism
facial expressions
fashion
Fashion Industry
Femme Fatale
fin-de-siecle
Freed Women
grotesque
grotesque aesthetics
hands
Holy Men
human
humor
illustrator
immorality
influence
journal
Language_English
Leopold Museum
Long Trail
Lunatic Fringe
modern art
modernity
Napoleon III
Overburdened
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Pathetic Fallacy
popular culture
Post Card
prejudice
Price_€20 to €50
PS=Active
psychological portraiture
religion
Rigorous Academic Training
Roy Lichtenstein
satire
Schiele's Portrait
Schiele's Self-portrait
self portrait
sexuality
softlaunch
Symbolic Self-completion
the body
The Musket
Verbal Caption
Vienna
Viennese caricature influence research
Violate
visual culture
visual satire analysis
Young Men

Product details

  • ISBN 9781032229300
  • Weight: 620g
  • Dimensions: 174 x 246mm
  • Publication Date: 07 Oct 2024
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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Presenting a radically different picture of Egon Schiele’s work, this study documents (in one-to-one comparisons) the extent of the artist’s visual borrowings from the Viennese humoristic journal, Die Muskete.

Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele’s artistic production frequently compared to caricature (and derided for being “grotesque”), but Expressionism and caricature are natural allies. One may belong to “high” art and the other to “popular” culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological “truths” to emerge.

The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.

Claude Cernuschi is Professor of Art History at Boston College, Chestnut Hill, USA.

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