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In 1918, when the First World War was nearing completion, looming over Europe new threat- Spanish flu epidemic. Egon Schiele died from it, and nine months earlier, from pneumonia, his teacher Gustav Klimt.
Two masters worked in the same city and at the same time, but in different directions. One turned to the tenderness and beauty of the female body, the other to the aesthetics of the ugly and the theme of loneliness. But each of them challenged the conservative society and left a mark on the world history of painting.
Together with the Pushkin Museum im. A.S. Pushkin, who organized an exhibition of 96 works by Klimt and Schiele, TASS talks about the relationship between the two masters, their styles and drawings.
KLIMT: RECOGNITION AND THE WAY TO SECESSION
Klimt was born in 1862 on the outskirts of Vienna, the son of the gold engraver Ernst Klimt. He had two brothers, who later also became artists, and four sisters. WITH young years he found himself within the strict framework of academicism: Klimt received his first and only art education at the Vienna Art and Craft School (Kunstgewerbeschule).
His early works had nothing to do with his paintings such as Judith with the Head of Holofernes or The Kiss. Nevertheless, his talent and diligence made him famous already at the age of 26 - in 1888, the Emperor of Austria-Hungary Franz Joseph I presented the artist with the Golden Cross for decorating the court Burgtheater on the Ringstrasse in Vienna.
Six years later, Klimt received an order to write three "faculty paintings" to decorate the main building of the State University of Vienna: "Philosophy", "Medicine" and "Jurisprudence".
These works, which have not survived to this day, marked the transition of Klimt from academicism to modernity. True, they called big scandal: the public considered them frankly erotic, if not pornographic, and the university refused to place the paintings on its walls.
While working on them, Klimt founded the "Viennese Secession" - an association of artists of Vienna, which accepted like-minded people who worked both within and outside the traditional directions.
Reclining Nude by Gustav Klimt
"Klimt founds it because he sees the need to create an alternative organization of artists in order to introduce the Viennese public to the achievements of the latest Austrian art", - explains Elena Korotkikh, researcher at the Department of European and American Art of the 19th-20th centuries, the Pushkin State Museum of Fine Arts.
SHIELE: YOUTH AND ACQUAINTANCE WITH THE MASTER
Just like Klimt, the young Egon Schiele went to the Kunstgewerbeschule. There he showed his drawings and was sent to the Vienna Academy of Fine Arts.
From childhood, Schiele opposed himself to society, starting with his own class at school.
“Several times he changed schools, turning out to be an outsider. He was successful mainly in physical education and in drawing,” notes Korotkikh.
In 1909, he dropped out without receiving a full academic education.
True, the value of Schiele's unofficial art education is higher than the academic one - Gustav Klimt himself patronized and patronized him.
They met in 1907. Then Schiele was only 17 years old, and Klimt had already acquired worldwide fame. In the same year, he began work on the painting "The Kiss". It was the peak of the "golden period".
It was thanks to Klimt that Schiele's paintings appeared in 1908 at an exhibition in Klosterneuburg, and in 1909 at an international exhibition. art exhibition in Vienna.
Klimt passed on his knowledge to Schiele and guided him. But young artist had his own, special vision of the world and beauty, his own technique. Yes, his life was very different.
Drawings by Egon Schiele: "Artist Max Oppenheimer" (1910), "Reclining Nude with legs crossed" (1918), "The Model in Red" (1914)
EROTIC AND FREEDOM
From the collection of the Vienna Albertina Museum in the Pushkin Museum im. A.S. Pushkin brought 47 works by Klimt and 49 by Schiele. To show their relationship, the figures related to different periods, were placed side by side.
The relationship of drawings is a direct consequence of the relationship between teacher and student. According to Elena Korotkikh, Klimt conveyed two main ideas to Schiele.
The first is a more explicit interpretation of eroticism.
"Klimt was interested in the study of female sexuality, opened it up and, in a way, was the first to take the hit. Schiele and [Oscar] Kokoschka followed in his footsteps," says Korotkikh.
At the same time, Klimt's and Schiele's approach to erotica itself was completely different. Klimt treats eroticism with great tenderness.
“He has a very attractive female nature, physical beauty is important to Klimt,” says a researcher at the Pushkin Museum. A.S. Pushkin.
Schiele focuses on the aesthetics of the ugly. In this sense, Klimt and Schiele are complete opposites.
The second idea is that the artist is not obliged to explain anything and can do what he wants and how he wants. This approach was very useful for Schiele as an expressionist. And he took full advantage of it.
LONELY AND LEGAL PROBLEMS
In the works of Schiele, unlike Klimt, in addition to opposition, the motive of loneliness is constantly present. Many of the artist's drawings do not have any background, they are cut off from the environment.
The artist demonstrates a separation from gravity, from reality. motive lost child, which was present from the very beginning, the motive of isolation for him is of paramount importance. The viewer does not know what is happening around the object chosen by the artist.
In 1912, Schiele served just over three weeks in prison. The court found the artist guilty that his drawings of pornographic content were available to a 12-year-old girl who appeared on the threshold of his house and asked for help.
Schiele and his constant companion Wally Neuzil (the former model of Gustav Klimt) left her for the night, then took the girl with them to Vienna (she said that her grandmother lived in the capital). Meanwhile, the girl's father went to the police. When law enforcement officers came to the artist's house, dozens of erotic drawings were found in his possession.
Schiele was imprisoned for distributing pornography and seducing minors. But, fortunately, the charges of seduction and kidnapping were rejected at the trial.
“Perhaps then Schiele realized that he could face serious consequences. He was used to confronting everyone in artistically, but did not expect such a turn of affairs," says Elena Korotkikh.
Drawings by Egon Schiele
DRAWINGS BUT NOT PAINTING
Among the works presented at the exhibition in Moscow, almost all 96 are drawings. Despite the fact that Gustav Klimt is now better known to the world as a painter, his talent as a draftsman is just as huge. According to the writer Mariana Bisanz-Prakken, during Klimt's lifetime, his works on paper were exhibited "often only as a decorative addition to his painting", and now they are valued much higher.
As for Schiele, the artist himself presented his drawings as independent works art.
According to the director of the Albertina Museum in Vienna, Klaus Albrecht Schroeder, works on paper were less accessible to a wide audience, which guaranteed the artists the freedom to choose subjects and their interpretation.
The drawings of Klimt and - especially - Schiele not without reason caused criticism and misunderstanding of the public at the beginning of the 20th century. Recommended age to visit the exhibition at the Pushkin Museum im. A.S. Pushkin - 18+ or at the discretion of the parents.
Drawings by Klimt and Schiele have never been exhibited in Russia in such a volume before. According to Vitaly Mishin, curator of the exhibition, "reproductions in books and on the Internet do not convey even a small fraction of the artistic qualities inherent in the drawings of these great Austrian masters."
Worked on the material
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Reproductions of paintings provided by the Pushkin Museum im. A.S. Pushkin.
Photographs used in the material: The Albertina Museum, Vienna, TASS Newsreel (Roman Kanashchuk, Sergei Bobylev), Alexander Avilov/AGN "Moskva", adoc-photos/Corbis via Getty Images.
Nude models, frozen in unnatural poses, pregnant women with arms folded on their stomachs, lovers clinging to each other. IN Pushkin Museum exhibited the graphics of the main representatives of Austrian art of the early 20th century - Gustav Klimt and Egon Schiele. Their drawings were brought to Moscow from the Vienna Albertina, where the first works of artists appeared during their lifetime. IN Pushkin Museum viewers will see almost 100 graphic sheets: 47 by Klimt and 49 by Schiele.
Egon Schiele. "Seated couple", 1915
Gustav Klimt enjoyed a reputation as a phenomenal draftsman, although over time he ended up in the shadow of Klimt the painter. Drawing was a daily necessity for him. In addition, his graphics influenced younger artists, among whom was Egon Schiele. Schiele himself considered himself primarily a painter, but at the same time he made drawings constantly, instinctively and quickly. In total, he left more than 3 thousand works on paper.
Egon Schiele. Crouching, 1918
arts-museum.ru / The Albertina Museum, Vienna
“Klimt and Schiele are such a hot pie that everyone wants to have for breakfast. The museum understood that in Russia the works of two the greatest artists XX century, without which it is impossible to imagine the history of art. We have taken the first step to tell about Klimt and Schiel. And it was right to start speaking from the drawing,” said the director Pushkin Museum Marina Loshak.
Egon Schiele. The Model in Red, 1914
arts-museum.ru / The Albertina Museum, Vienna
Gustav Klimt revolutionized the depiction of the female nude. Moreover, in the interpretation of eroticism in his drawings, he went much further than in painting. As for Schiele, his work was called pornographic at all. For the artist, there were no prohibitions in depicting the female body, which he showed with the utmost frankness. In the spring of 1912, Schiele was even sentenced to prison for pornography. While in prison, he created thirteen watercolors and drawings, a couple of which were brought to Moscow.
Egon Schiele. "Self-portrait in the nude, grimace", 1910
arts-museum.ru / The Albertina Museum, Vienna
The exhibition of drawings by Gustav Klimt and Egon Schiele was rated 18+. “We understood that we could deal with an audience that would see this kind of art for the first time. We had in mind some tension in society. We all the time think about how not to infringe on someone's feelings: believers, nervous or emotional. And we needed, without too upsetting those who were counting on puritanism, nevertheless to show something without which it is impossible to show the art of a lonely, suffering artist who has a difficult perception of life, ”said Marina Loshak.
Egon Schiele. "Artist Max Oppenheimer", 1910
arts-museum.ru / The Albertina Museum, Vienna
Drawings by Klimt and Schiele from Albertina waiting in many countries. In the near future - in England and America. We also know that works on paper cannot be exposed to light either too often or too long. And the total reserve of time for their public stay is not unlimited. Three months from this reserve were given to Moscow. And this is a great privilege,” said project curator Vitaly Mishin.
Exhibition “Gustav Klimt. Egon Schiele. Drawings from the Albertina Museum (Vienna)" at the Pushkin Museum will last until January 14, 2018.
Kirill Alekseev
Art critic, head educational programs Museum of Moscow
Sergei Khachaturov
Art historian, lecturer at the Faculty of History of Moscow State University. M.V. Lomonosov
On the drawings of Klimt and Schiele and their place in history
Sergei Khachaturov: “This exhibition shows how diverse the drawings of both artists are. Schiele ended his career at a time when Expressionism and Art Deco were knocking on the door: his breakthrough pieces contain something of the archaic, the love for which was just close to Art Deco. And Schiele's female and children's images are very diverse - they can resemble realism natural school and even our Serov. The first drawings of Klimt are very academic and resemble previous styles - first of all, mannerism.
Egon Schiele. Artist Max Oppenheimer, 1910
Kirill Alekseev: "IN graphic works Klimt and Schiele have something in common - a line: smooth, fluid, hugging - in one, and nervous, with a trembling hand, as if drawn (but in fact, of course, very confident) - in the other. In these drawings - a reflection of the natural course of the history of world art: the Art Nouveau style was replaced by the broken lines of constructivism. Both artists died in the same year - 1918, and although they were rather conditionally related, they together reflect the entire history of graphics of their time, which prepared painting for a breakthrough. Graphics in general convey ideas much more strongly: painting is monumental, and graphics catch an idea on the fly - artists will work on a rare drawing for more than a couple of days. Therefore, in the drawings we usually see a pure experience, unclouded by temporal optics. Painting can deceive: the artist returns to it for several months, can make it more decorative, as Klimt liked to show, but here a person is practically reduced to abstraction, conveys awe and nervousness. That is why it is difficult to accuse the images of both artists of sexuality: in places they are almost abstract.
Both Klimt and Schiele are interesting to us because they occupy a turning point in art on the way to abstract painting, are actually halfway to non-objectivity. Any artist's attitude to the body is inevitably determined by the state of style, and in this case we can state the era of a turning point from figurative painting to modernist. For Klimt, the figure is located on a practically non-objective background, for Schiele - on a milky abstract, and, as we remember, Malevich said that everything comes from white color. Certainly, western artists knew about what was happening in Russian art, they reflected on the non-objectivity, and White background many of their works could well have been motivated by this.
Gustav Klimt. Studies for the Beethoven Frieze, 1901
© The Albertina Museum, Vienna
The lines "Schile - Freud" and "Schile - Bacon" are obvious. In all these cases, we see post-war art, only in front of Schiele's eyes the First World War happened, and Freud's - the Second. Here and there we see characters that society has ground to pieces: people beautiful in their morbidity, asymmetry and suffering - in fact, not very embellishing experiences, which are expressed both in the pose and in the "shamelessness" that still teases critics. In addition, Schiele and Freud are also related by technology: in both, the line is an independent, practically abstract unit, in the first case it is trembling and broken, and in the second it is very clear. It is clear why this happens: the relationship of artists reflects the patterns of development of art. As for Klimt, this is the author who leads painting to nullification, dissolution, turns his character into a cloud - and his line will continue in classical abstract painting, which is essentially anthropomorphic.
On the modernity of Klimt and Schiele
Egon Schiele. Self-portrait in the nude. Grimace, 1910
© The Albertina Museum, Vienna
Sergei Khachaturov: “It may seem that Schiele is more in tune with today, and Klimt belongs to the history, museum, visual culture of the past. But this exhibition breaks stereotypes: it is difficult to look at the subtle works of Klimt in a good way, in contrast to the attractive and bright drawings of Schiele, with their hard lines, as if carved with a chisel. But the elusiveness and subtlety of graphics is not the quality of clumsiness: on the contrary, it is aerobatics. In my opinion, it makes graphics related to cinema - that is, the art that operates with the concept of plot development in space. Anri Bergson called this quality duration. So, Klimt's drawings seem to be taken in uncertainty, their shimmering outline has a special musicality of plasticity. But looking at them is more difficult than looking at the bright and attractive sheets of Schiele. But this exhibition shows that Klimt was more complex than just a representative of Art Nouveau or Art Nouveau. The simplicity of his seemingly naive graphic sheets, reminiscent of children's drawings, is deceptive.
Gustav Klimt operates different traditions and collects a complex image. His aesthetic is actually very modern: his famous "Kiss" is actually a collage, important trick postmodernism. We are accustomed to think of him as a representative of stencil modernity, when graphic image or a melodious line is projected onto a plane - this is the formula of the Art Nouveau drawing. And here the lines are so thin that they create vibration and volume that overcomes the stencil plane.
Gustav Klimt. female face, cheek pressed to hands, 1903
© The Albertina Museum, Vienna
With Schiele, the opposite is true: we first saw his graphic paintings, which were made according to the principle of appliqué. He turned out to be very responsive to the trends of the time - and came close to a new materiality, it's a pity that he lived only for such a short time. Schiele closed with his work that era of modernity, which Klimt opened. His graphic technique reminiscent of youth culture today - which is why 17-year-olds love him so much. When we look at his work, we understand that these images are somewhere close to Banksy and other images that graffiti artists make on concrete fences. Its vibrating lines are reminiscent of culture modern subcultures its amazing life force and energy, which, like a compressed spring, is about to straighten up and break through the surface.
Egon Schiele. Reclining nude with legs crossed, 1918
© The Albertina Museum, Vienna
Kirill Alekseev: “Both Klimt and Schiele are both in tune with today. Even today we don't have much healthy attitude to sex and the body, and the very fact that there was talk about the age threshold of the exhibition and its necessity is simply ridiculous. How else can this be understood, except as a sign that the authors are relevant, and the topic is topical? Modern Art concerned about the attitude towards a person, his role in society. And in art that reflects on this topic, the conversation about freedom is inevitably manifested by topics related to the body. The rise of Lucian Freud happened precisely against the background of the importance of public conversations about human freedom and thanks to his attention to the body - not too beautiful, which he always showed. Therefore, the relevance of this exhibition about Schiele and Klimt is, of course, much more serious than thinking about how exactly the body should be depicted: it rather reflects an interest in a person, his rights and his place in society.”
On a different approach to the naked body
Egon Schiele. Sleeping girl, 1911
Khachaturov: “English art critics suggested using two terms in their books: a naked person and a naked person. Gustav Klimt sees the nude through the filters of classically nude images. Even if he draws her, he seems to show her in veils. The naked man in a Klimt painting is protected by cultural codes. And Schiele is so radical that he is not afraid of the trauma of nudity - this line will be picked up after him by Francis Bacon and Lucian Freud. They do not hesitate to show nudity as nudity, and not as a typification of a naked body. At that time, the abyss of the subconscious was opened, which led to a radical exposure of all subtexts in painting: cultural codes capitulated, and artists and philosophers showed an unprotected point of being with nerves and pain. In this sense, Schiele is, of course, a more provocative artist, while Klimt does a more subtle job with cultural codes.
I would not say that there is self-censorship in this exhibition. The fact that the theme of the naked body does not become the main one is connected with the following point: the curators wanted to show the various sides of Schiele's work. If the topic was related to the nude genre in his work, then frankness and nudity could be discussed - here is a decent architectural graphics, sketches, a gallery of portraits, reminiscent of the work of Konstantin Somov with his signature painfully pointed features. It seems that nothing is happening in the picture, but it seems that human destinies are changing - and this happens in different parts world in the same 1917. We were shown a Schiele who changes our boundaries and understanding of the artist.”
Egon Schiele. Model in red, 1914
© The Albertina Museum, Vienna
Alekseev: “Each work of art is a reflection of the author in the material. The artist shows what he wants to say, and the main thing in this case is not to deceive yourself. the main problem naked body is a vulgarity: it invariably arises if the artist engages in even a little self-deception. Neither Schiele nor Klimt has this vulgarity, because both of them are honest and straightforward in depicting their sexuality. The beginning of the 20th century was not distinguished by swagger of morals: look only at fashion magazines - you will see an extremely conservative society. What Klimt and Schiele are doing can be called a slap in the face of public taste. From the point of view of the plot, these are actually two sides of the same thing: both artists experience the same material, only one of them in the form of suffering, and the other - hedonistic pleasure.
© The Albertina Museum, Vienna
The key story of any exhibition is the narrative statement. In this case, the exhibition is not a demonstration of works, but an idea embodied in the material. If both artists brought more traditional works like The Kiss and Ferdinand Bloch's wife - I'm talking about paintings, - this would give rise to more traditional interpretations. Here, the curators decided to show a more difficult task: showing the drawings of artists requires a story about scandalous life Schiele and Klimt (he was also not a gift - a phenomenal womanizer in life and a sybarite) and the leitmotifs of their work: an aesthetic stay in the sensual environment of Klimt and overcoming the social environment with Schiele. As an exhibitor, perhaps I would have done some things differently, but it’s easy for me to talk about this from the outside, and the Pushkin Museum, I’m sure, had good reasons to choose such a color for the walls and such a design. I wonder why the critics say so little about this exhibition, which is essentially brilliant - bold enough in our sanctimonious time. Remember the Sturgess scandal (the photos contained very vague sexual overtones)? And in the case of Klimt and Schiele, history keeps the memory of them as rather cheeky people in this sense, and the fact that the museum was not afraid to demonstrate their works and calmly discuss them speaks positively both of the museum’s work and of the exaggerated attention to this topic. in our life".
Egon Schiele (June 12, 1890, Tulln an der Donau - October 31, 1918, Vienna) - Austrian painter and graphic artist, one of the brightest representatives Austrian expressionism.
Biography of Egon Schiele
Egon Schiele's mother is a Czech from southern Bohemia, the city of Cesky Krumlov. The father is the crown that serves on railway, died of syphilis in 1905, the young man was brought up in the family of his uncle, Leopold Cichachek.
In 1906 he entered Vienna School Arts and Crafts, then moved to the Academy visual arts. From 1907 he found a mentor and patron in the person of Gustav Klimt.
In 1908, the first exhibition of his works took place in the town of Klosterneuburg near Vienna, where Schiele had previously studied at school.
In 1909, Klimt invited Schiele to participate in an exhibition in art gallery Vienna, where next to him, in addition to the works of Klimt himself, there were paintings by Van Gogh, Edvard Munch and others.
In 1911, Valerie Neusel, one of Klimt's models and lovers, became Schiele's girlfriend and model. The couple fled the Viennese bohemian life to Cesky Krumlov, then to the town of Neulengbach, where in 1912 Schiele was arrested on charges of seducing a minor. During a search, the police found several dozen candid drawings in his possession, which were declared pornographic. The artist was sentenced to a short prison term.
In 1912-1916, Schiele exhibited widely and successfully - his works were exhibited in Vienna, Budapest, Munich, Prague, Hamburg, Stuttgart, Zurich, Hagen, Dresden, Berlin, Rome, Cologne, Brussels, Paris.
In 1917 he returned to Vienna. After Klimt's death in the spring of 1918, Schiele moved into the role major artist Austria.
Three days after the death of his pregnant wife Edith, he died of a Spanish flu epidemic that claimed the lives of tens of millions of people in Europe.
Creativity Schiele
Among the works of Schiele, portraits predominate and, after acquaintance with the work of Van Gogh in 1913, landscapes.
Egon Schiele's paintings and graphics, marked by nervous color contrasts, subtly flexible drawing and dramatic eroticism, are a mixture of Art Nouveau and Expressionism.
Being strongly influenced by the psychoanalysis of Sigmund Freud, Schiele in his work gave vent to his own complexes and doubts.
Landscape in Lower Austria Standing Woman in Red Female Nude
The artistic career of Egon Schiele was short but fruitful, and many works were frankly sexy character. It even caused imprisonment artist for "creating immoral drawings."
Due to his sharp, nervous style, Schiele is considered one of the most important representatives of expressionism, although he never formally belonged to this movement.
Egon Schiele - unique artist. He managed to create a unique aesthetic for the "modern" era (although some of the works are reminiscent of Klimt). Schiele's work is based on violence, a sense of frustration. Emotions splash over the edge. Beneath the gloomy pediment Everyday life artist discovers the world sharp corners and hot topics.
Schiele used mostly prostitutes as female models.
Schiele died very young from the flu, at the moment when his work was recognized.
Since childhood, Schiele has been drawn to drawing. Sometimes, he would take paper, a pencil, and draw well.
IN adolescence was caught painting his younger sister. He locked himself in the room with his sister, forced her to undress and began to draw.
Mother (father died just that year) sent her son to the Vienna School of Arts and Crafts. Then Egon moved to the Vienna Academy of Fine Arts.
In 1909, Schiele left the Academy in his third year, found an apartment and a studio, and began to study on his own. He became more interested in very young girls, who often became his models.
Albert Paris von Gütersloh, a young artist who was a contemporary of Schiele, recalled that his studio was filled with such girls: “They slept, took cover from beatings inflicted by their parents or the police, just loitered there lazily all day long, combing their hair, mending clothes and shoes, washed ... Like animals in a cage that satisfies them, they were left to their own discretion, or at least they believed that they lived on their own.
Once his drawings caught the eye of one wealthy man. The man decided that Schiele's drawings were business. He began buying up his drawings and supplying them to pornography collectors, which were plentiful in Vienna at the time. Part of the money from the sale of the drawings, of course, went to the author - Schiela. But Egon himself did not care from whom the money came from, perhaps he did not think about it at all.
From that time on, Schiele became fascinated not only with teenage girls, but also with himself. “Yes, yes, they appreciated me,” and so it was spinning in his head, “Yes, yes, my work was appreciated, people need me,” he said to his acquaintances. During this period, Schiele created his own portraits one by one. Self-portraits. For history. "A person who is appreciated."
In letters to his mother, Schiele wrote about himself: "All beautiful and noble qualities are united in me ... I am the fruit that will leave eternal life ...".
Schiele's studio grew. Teenage girls from disadvantaged families in Vienna knew that they would find shelter here after running away from their parents. And Schiele knew that drawings with naked girls would bring extra income. This is how the studio grew.
Neighbors, of course, eventually paid attention to strange artist. And they told the police. Like, in the apartment there is a crowd of young underage girls, they all go naked or half-naked, sometimes they appear on the balcony in this form.
Schiele managed to move first to Prague, and then to the town of Neulengbach. But even there he continued his work, again organizing a "studio of young models."
In April 1912 Schiele was arrested. The police seized more than a hundred of his drawings, which they considered pornographic. Schiele was imprisoned on suspicion of seducing an underage girl, his model. The investigation did not prove this, but the artist was found guilty of displaying pornographic drawings in a place accessible to children. He was sentenced to 21 days in prison.
While in prison, he made several self-portraits, accompanied by signatures full of self-pity: "I do not feel punished, rather cleansed", "Restricting an artist is a crime." Schiele wrote very "moralizing" and "compassionate" captions to his self-portraits: "I'm trying to understand myself, but I'm being judged."
Last weekend I was in Moscow, went to the Pushkin Museum im. Pushkin for exhibitions - two days, two exhibitions. In terms of time, it would be possible to do it in one day, but the intensity of the impressions is such that it is better in two doses.
The first day - Soutine exhibition in the main building of the museum. Chaim Soutine, representative of the "Paris School", such a meaty Modigliani. Actually, he and Modigliani were friends, so the influence of M on C is obvious. But there is a significant difference: Modigliani's paintings are calmness itself, his models are naturally motionless, they can stay in this position for eternity, time has stopped as unnecessary. Perfection has been achieved. In contrast, Soutine's paintings are primarily movement. He was brilliantly able to depict movement, to catch it. And the facial expression is a very accurately captured moment, a transience captured.
Actually, see for yourself (I collected pictures on the net, at the exhibition they strictly monitored that no one took pictures):
Chaim Soutine "Big Hat"
Chaim Soutine "The Bride", 1923, 81x46 cm
Chaim Soutine "Chorist Boy", 1928, 63.5x50 cm
Chaim Soutine "Woman entering the water", circa 1931. Oil on canvas. 114×72.
His portraits are interesting, yes. Although the first sentence accompanying text for the exhibition is very indicative: young Chaim Soutine, while still living in a Belarusian town, painted a portrait of an old Jew, for which he was beaten. To put it bluntly, it's not surprising. His portraits combine observation and repulsive caricature. As V.P., with whom we were at this exhibition, said, "what a pity that with such an ability to catch movement and depict facial expressions, he never learned to draw normally." The judgment, perhaps, is too harsh, but ... His portraits are interesting, although in any depicted a small-town Jew peeps through, even if he portrays the French; but still lifes and landscapes are deeply secondary.
In general, it is curious, but not the exhibition that you will later remember.
Second day - exhibition of drawings by Klimt and Schiele in the building Western European art XIX-XX centuries. This is truly an event! Large display from the Albertina Museum in Vienna.
Let's start with drawings Gustav Klimt:
Gustav Klimt "Reclining Nude" 1886/87 (study for the painting "Altar of Dionysus") 
Unfortunately, there are only three drawings of this quality at the exhibition - here are two more studies for other paintings:
The rest of the exhibited drawings by Klimt are very handwriting:
Still, Klimt is a painter, not a draftsman. You can look at his drawings, but how can I put it... Here, for example, Glenn Gould, when he plays Bach or Mozart, purrs something under his breath (you can hear it on the recordings). Probably, this helps him to play, and perhaps a musicologist or another pianist can learn something from this - but these sounds, this purr during performance is something obviously secondary, props, scaffolding, but not the piece itself. This is how Klimt's drawings are - yes, these are studies for his wonderful pictures, but it is better to look at the pictures, and not these blanks for them.
Unlike Klimt Egon Schiele first of all, a draftsman - any of his handwriting is created as a self-sufficient work. Wikipedia has a lot of high-quality reproductions of his work, so most of the pictures below are from there.
Egon Schiele "Portrait of the singer Moa", 1911 
Most of the works will be untitled - it will not add anything to the picture.
Two portraits by Arthur Ressler from 1910 
Egon Schiele "Portrait of Edith Schiele", 1915 (this is his wife) 
Egon Schiele "Self-portrait, grimace" 
And in this work of 1915, he clearly depicted himself with his wife 
Egon Schiele "Artist Max Oppenheimer", 1910 
It's high time to stop, but I just want to put almost all the drawings seen at the exhibition into the post. Thank God, I had reading glasses with me - it was terribly interesting to look at the line with which the drawing was drawn. Firm, decisive, exceptionally expressive. If you go back to Klimt's drawings and look at how they are drawn, there is no line there, it was not drawn with it. And Schiele could make a bright drawing with just one line - an expressionist! When I took on the color, the color turned out to be unpredictable - how surprised I was to see that the naked female body depicted using just two colors - bright crimson and emerald green!
By the way, this is not visible on reproductions - Schiele's drawings must be viewed live, and there is such an opportunity in Moscow for about a month and a half. A little hint: if you come at 12 o’clock on the weekend, then the queue is small, only about thirty people. But by three o'clock, a very impressive line is built.
In general, this exhibition is an event that will be remembered for a long time. I generally love drawings, and there are so many and so cool!
PS.
After the exhibition of Klimt and Schiele, he walked around the main exposition of the gallery. Frankly, it is better not to do this - the impression of the exhibition was so strong that even the Impressionists I loved did not look at all. But I drew attention to this: from the point of view of the exposition, Viennese art does not exist at all. Solid France! In a separate cul-de-sac, one painting by Munch, Böcklin, Kisling was found, even Whistler was found (although he is more of an impressionist) - symbolism and expressionism are practically absent in the museum's collection. Didn't pay attention to it before.
