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1
00:00:04,720 --> 00:00:09,640
There was something slightly dirty
and clunky about it.
2
00:00:10,720 --> 00:00:13,760
The shapes...
3
00:00:17,440 --> 00:00:21,200
..and the cocaine morning-after
look.
4
00:00:27,080 --> 00:00:31,200
Schiele's nudes still
shock audiences.
5
00:00:31,200 --> 00:00:34,440
There is clearly something
that is still provocative
6
00:00:34,440 --> 00:00:36,640
about his work.
7
00:00:39,120 --> 00:00:41,720
Taboos are broken and
people are having sex.
8
00:00:41,720 --> 00:00:44,040
For Schiele as an artist,
but also for the women.
9
00:00:44,040 --> 00:00:47,120
It would have been an incredibly
radical and audacious
10
00:00:47,120 --> 00:00:49,720
type of image to take part in.
11
00:00:52,320 --> 00:00:55,960
Schiele still sort of shimmers
between being an artist that seems
12
00:00:55,960 --> 00:00:58,320
kind of on the edge
of being pornographic
13
00:00:58,320 --> 00:01:00,120
and on the edge of being an artist
14
00:01:00,120 --> 00:01:02,840
that can be revered
for being a great modern artist.
15
00:01:07,640 --> 00:01:13,560
Schiele was not only a great artist,
he was a marketing genius as well.
16
00:01:13,560 --> 00:01:16,800
He knew how to make a career.
17
00:01:19,000 --> 00:01:22,840
People like David Bowie looked
at this, and did the same.
18
00:01:33,440 --> 00:01:37,040
If someone were to show
you a Schiele watercolour,
19
00:01:37,040 --> 00:01:40,960
and ask you, "When do
you think this was done?"
20
00:01:40,960 --> 00:01:44,200
I think the answer
would be, "Yesterday!"
21
00:02:07,720 --> 00:02:11,560
Vienna, around 1900, was
the centre of the world.
22
00:02:11,560 --> 00:02:13,800
Of the intellectual world.
23
00:02:13,800 --> 00:02:17,360
It wasn't very liberal,
very open to the new, in general.
24
00:02:20,880 --> 00:02:22,880
You had Sigmund Freud.
25
00:02:23,960 --> 00:02:26,040
You had Adolf Loos.
26
00:02:26,040 --> 00:02:28,160
You had Gustav Klimt.
27
00:02:31,440 --> 00:02:35,480
Gustav Klimt was really the artist
who blazed the trail.
28
00:02:36,520 --> 00:02:40,040
The modern art that Klimt and later
Schiele went on to represent,
29
00:02:40,040 --> 00:02:42,000
was about the contemporary.
30
00:02:42,000 --> 00:02:43,840
It was about being modern.
31
00:02:43,840 --> 00:02:46,480
And it was about
being controversial.
32
00:02:46,480 --> 00:02:49,280
In the knowledge that
art should be free.
33
00:02:49,280 --> 00:02:52,720
Free from the watchful
eyes of the authorities.
34
00:02:52,720 --> 00:02:58,840
All these triple-A artists and
intellectuals had been living here.
35
00:02:58,840 --> 00:03:01,120
Had been visiting the coffeehouses
36
00:03:01,120 --> 00:03:03,920
and speaking about
revolutionary things.
37
00:03:08,480 --> 00:03:12,920
1910 is really regarded
as Schiele's breakthrough year.
38
00:03:12,920 --> 00:03:16,640
This is the year in which he becomes
39
00:03:16,640 --> 00:03:19,120
the controversial artist
we celebrate today.
40
00:03:20,640 --> 00:03:22,920
He's just 20 years old.
41
00:03:22,920 --> 00:03:24,800
# Voodoo in my blood is living
42
00:03:24,800 --> 00:03:27,080
# Blood take I'm chillin'
43
00:03:27,080 --> 00:03:28,680
# Chill me got the soul of a mimic
44
00:03:28,680 --> 00:03:31,440
# It's not quite right,
you must be silly
45
00:03:31,440 --> 00:03:33,960
# Sign of the wars
is my grinning... #
46
00:03:33,960 --> 00:03:35,880
Egon.
47
00:03:35,880 --> 00:03:38,040
# Momma stop giving me grief... #
48
00:03:40,600 --> 00:03:44,920
I see no reason whatsoever
to respond to your shameful telegram
49
00:03:44,920 --> 00:03:47,120
asking for a cash remittance.
50
00:03:47,120 --> 00:03:50,440
I placed a considerable amount
in your bank account
51
00:03:50,440 --> 00:03:53,240
only a few days ago.
52
00:03:53,240 --> 00:03:55,600
I'm not a cow to be milked.
53
00:03:57,000 --> 00:03:59,360
Kindly remember this.
54
00:03:59,360 --> 00:04:02,400
Your guardian, Leopold.
55
00:04:02,400 --> 00:04:08,880
# Wipe that cheeky grin
and come on down... #
56
00:04:12,960 --> 00:04:14,800
Dear Oskar.
57
00:04:14,800 --> 00:04:18,640
I've entirely run out of money
and was obliged just now to pay
300 krone.
58
00:04:18,640 --> 00:04:21,440
Please, please,
bring me 20 tomorrow, Saturday.
59
00:04:21,440 --> 00:04:26,560
Please, this is very urgent,
otherwise I'll be unable
even to eat lunch.
60
00:04:26,560 --> 00:04:29,960
Dear Leo. Such an unhappy fate.
61
00:04:31,440 --> 00:04:35,400
My relatives are appalled
by my children's behaviour.
62
00:04:35,400 --> 00:04:39,400
Ever since Egon left from here,
he has changed.
63
00:04:39,400 --> 00:04:43,200
He fell in with bad company,
easily found in a big city.
64
00:04:43,200 --> 00:04:45,640
But nonetheless,
please believe me when I say
65
00:04:45,640 --> 00:04:48,160
that I do not see him as lost.
66
00:04:50,320 --> 00:04:52,720
He's broken away from the Academy,
67
00:04:52,720 --> 00:04:55,880
where he received his
training in life drawing.
68
00:04:55,880 --> 00:05:00,440
That move enrages his uncle,
his guardian and benefactor,
69
00:05:00,440 --> 00:05:03,960
who decides to withdraw
all financial and moral support.
70
00:05:06,720 --> 00:05:08,800
Dear Marie.
71
00:05:08,800 --> 00:05:14,440
The conduct and attitude which Egon
has displayed for some time
72
00:05:14,440 --> 00:05:18,280
disdain all morals
and amount to a direct insult
73
00:05:18,280 --> 00:05:20,480
of the highest order.
74
00:05:20,480 --> 00:05:23,680
I feel obliged,
after more than five years,
75
00:05:23,680 --> 00:05:27,400
to end my guardianship of Egon
76
00:05:27,400 --> 00:05:29,920
at the earliest opportunity.
77
00:05:33,960 --> 00:05:35,880
Schiele has to support himself.
78
00:05:35,880 --> 00:05:39,360
He has to pay for rent,
material and models.
79
00:05:40,760 --> 00:05:45,000
And he decides to approach this,
I believe, rather practically.
80
00:05:55,720 --> 00:06:00,600
He produces sheet after sheet
of explicit drawings,
81
00:06:00,600 --> 00:06:02,840
and these drawings very quickly
find their market.
82
00:06:10,520 --> 00:06:12,840
Let's talk about sex...
83
00:06:12,840 --> 00:06:15,400
SHE LAUGHS
84
00:06:12,840 --> 00:06:15,400
..for a moment.
85
00:06:15,400 --> 00:06:19,000
Schiele is really still a teenager.
86
00:06:19,000 --> 00:06:25,480
And he is, like all teenagers,
obsessed with sex.
87
00:06:26,480 --> 00:06:29,360
Now, what do artists do?
88
00:06:29,360 --> 00:06:31,520
They draw nudes.
89
00:06:31,520 --> 00:06:35,480
Even at the Academy,
you were supposed to draw nudes.
90
00:06:35,480 --> 00:06:41,920
But what is not normal
is to draw a nude
91
00:06:41,920 --> 00:06:48,040
without in some way,
neutralising her sexuality.
92
00:06:56,120 --> 00:07:02,600
All sorts of aesthetic devices
have been invented
93
00:07:02,600 --> 00:07:07,520
to make it OK to look
at a naked woman.
94
00:07:07,520 --> 00:07:13,080
To make that an artistic experience
and not a pornographic experience.
95
00:07:15,240 --> 00:07:18,520
And when Schiele is drawing
the female nude,
96
00:07:18,520 --> 00:07:22,280
he is actually having
an immediate encounter
97
00:07:22,280 --> 00:07:25,640
with a naked woman
who terrifies him
98
00:07:25,640 --> 00:07:27,840
and excites him at the same time.
99
00:07:27,840 --> 00:07:32,080
And this is precisely
what you see in those works.
100
00:07:33,720 --> 00:07:36,040
I think his work is
entirely about desire.
101
00:07:36,040 --> 00:07:38,720
The difficulty for the viewer
is that you take the position
102
00:07:38,720 --> 00:07:41,240
of the artist's desire -
watching, looking,
103
00:07:41,240 --> 00:07:43,920
observing, and being voyeuristically
connected to this person
104
00:07:43,920 --> 00:07:46,360
who has had no part to play.
105
00:07:48,400 --> 00:07:52,320
That's why his work
is still so relevant.
106
00:07:52,320 --> 00:07:55,800
Because we know, in looking at these
sheets,
107
00:07:55,800 --> 00:08:00,080
that we are in some way engaging
with how we see ourselves,
108
00:08:00,080 --> 00:08:02,800
and our relationships to each other.
109
00:08:02,800 --> 00:08:06,760
How we think about our own
sexuality, our own desires.
110
00:08:14,560 --> 00:08:19,240
# Rusted brandy in a diamond glass
111
00:08:19,240 --> 00:08:23,600
# Everything is made
from dreams... #
112
00:08:23,600 --> 00:08:28,240
Schiele turned to his sister,
Gertie,
113
00:08:29,400 --> 00:08:33,520
because he couldn't afford
114
00:08:33,520 --> 00:08:36,880
to pay a professional model.
115
00:08:36,880 --> 00:08:40,640
And she would do whatever he wanted.
116
00:08:40,640 --> 00:08:43,560
She was extremely compliant.
117
00:08:43,560 --> 00:08:47,240
# I can't resist
118
00:08:47,240 --> 00:08:51,040
# I just know that she's
made of smoke
119
00:08:52,120 --> 00:08:55,880
# But I've lost my way
120
00:08:56,920 --> 00:08:59,920
# She knows that I am broke
121
00:08:59,920 --> 00:09:02,640
# But I must play...#
122
00:09:02,640 --> 00:09:06,440
There had been definitely
an erotic situation
123
00:09:06,440 --> 00:09:09,280
between Egon Schiele and Gertie.
124
00:09:10,560 --> 00:09:14,240
How far this was, we don't know.
125
00:09:14,240 --> 00:09:16,160
We can't say.
126
00:09:16,160 --> 00:09:19,640
But this erotic atmosphere,
we can feel when we see
127
00:09:19,640 --> 00:09:22,200
the drawings, the artworks.
128
00:09:23,600 --> 00:09:27,080
Gertie and Schiele
had all kinds of secrets,
129
00:09:27,080 --> 00:09:31,240
and later when I interviewed
Gertie as an adult,
130
00:09:31,240 --> 00:09:34,720
she liked to imply
that they had many secrets.
131
00:09:56,800 --> 00:10:01,280
Schiele was brought up in a small
town near Vienna
132
00:10:01,280 --> 00:10:05,640
and his father was the head
of this railway station.
133
00:10:05,640 --> 00:10:11,160
And the way Egon Schiele grew up was
with rules, rules, rules.
134
00:10:12,880 --> 00:10:18,120
Egon's father did not like the fact
that his son drew all the time.
135
00:10:18,120 --> 00:10:21,000
And he was perturbed
because what is his son
136
00:10:21,000 --> 00:10:23,560
going to become,
if all he does is draw?
137
00:10:24,800 --> 00:10:30,120
The relation between Egon Schiele
and his father was pure love.
138
00:10:30,120 --> 00:10:35,360
And then this little Egon Schiele
saw that this perfect world
139
00:10:35,360 --> 00:10:38,920
did not really exist.
It was only a facade.
140
00:10:38,920 --> 00:10:43,200
Egon Schiele's father
loved a young girl,
141
00:10:43,200 --> 00:10:46,360
but the girl was brought up
very prudishly,
142
00:10:46,360 --> 00:10:50,560
so she was shocked when she suddenly
had her wedding night,
143
00:10:50,560 --> 00:10:55,480
and did not let Schiele's
father join her in bed.
144
00:10:55,480 --> 00:10:58,160
So, according to the family
mythology,
145
00:10:58,160 --> 00:11:02,360
Schiele's father went to a
whorehouse and acquired syphilis.
146
00:11:10,800 --> 00:11:15,400
The illness spread and he became
mentally quite strange.
147
00:11:18,480 --> 00:11:22,800
Nobody talked about this,
the father tried the whole time
148
00:11:22,800 --> 00:11:25,000
to give a perfect picture.
149
00:11:25,000 --> 00:11:28,800
But more and more,
he appeared like a maniac,
150
00:11:28,800 --> 00:11:30,840
and the whole family saw this.
151
00:11:37,800 --> 00:11:42,160
Schiele saw that the picture
you see, the facade you see,
152
00:11:42,160 --> 00:11:44,080
is not the truth.
153
00:11:44,080 --> 00:11:46,120
There's something behind it.
154
00:11:54,480 --> 00:11:59,320
With his family coming
apart in this fashion,
155
00:11:59,320 --> 00:12:04,840
he simply lost himself
in his artwork.
156
00:12:04,840 --> 00:12:09,160
And that became his emotional
retreat and salvation.
157
00:12:21,320 --> 00:12:23,640
Dear Anton.
158
00:12:23,640 --> 00:12:28,440
Does anyone, I wonder, recall my
noble father with such sorrow?
159
00:12:28,440 --> 00:12:31,000
Who could understand why I seek
out the places he went,
160
00:12:31,000 --> 00:12:35,760
where I pass sorrowful hours
willingly feeling the pain within?
161
00:12:57,120 --> 00:13:00,400
Schiele was 14 when his father died.
162
00:13:00,400 --> 00:13:03,720
Schiele then spends a lot
of the rest of his life
163
00:13:03,720 --> 00:13:06,440
coming to terms with
that emotional experience
164
00:13:06,440 --> 00:13:09,240
and the experience
of his father's death.
165
00:13:10,400 --> 00:13:13,120
Egon Schiele's work,
there are two elements
166
00:13:13,120 --> 00:13:15,440
which are extremely dominating.
167
00:13:15,440 --> 00:13:18,400
There is his focus
on the corporeality
168
00:13:18,400 --> 00:13:21,600
and on the sexuality,
on the sexual force,
169
00:13:21,600 --> 00:13:26,000
and there is sort of the
counterpart, which is the death.
170
00:13:27,840 --> 00:13:32,000
And this sex and death are the most
vital energies
171
00:13:32,000 --> 00:13:35,800
which can be found
in his paintings and drawings.
172
00:13:38,240 --> 00:13:44,280
Artists were valued for being
on the margins of society.
173
00:13:44,280 --> 00:13:47,800
And a way of really heightening
their outsider status
174
00:13:47,800 --> 00:13:53,520
was to emphasise their anxiety,
their sense of inner turmoil
175
00:13:53,520 --> 00:13:57,880
and torment, that's what audiences
of the time really valued.
176
00:13:57,880 --> 00:13:59,760
I think Schiele knew that.
177
00:13:59,760 --> 00:14:03,320
I think he had a very strong sense
of how he needed
178
00:14:03,320 --> 00:14:06,880
to market himself
as a modern artist.
179
00:14:11,880 --> 00:14:16,800
# Take a little walk
to the edge of town
180
00:14:16,800 --> 00:14:19,880
# Go across the tracks
181
00:14:22,080 --> 00:14:27,720
# Where the viaduct looms
like a bird of doom
182
00:14:27,720 --> 00:14:31,240
# As it shifts and cracks. #
183
00:14:33,120 --> 00:14:36,080
All painters try to be performers.
184
00:14:36,080 --> 00:14:39,600
And the good ones
are good performers.
185
00:14:39,600 --> 00:14:41,160
All of them.
186
00:14:41,160 --> 00:14:45,000
# Hey, man, you know
you're never coming back. #
187
00:14:45,000 --> 00:14:49,280
What he decided to do was
to make a big entrance.
188
00:14:49,280 --> 00:14:51,640
To say, "Look, I'm here.
189
00:14:51,640 --> 00:14:55,240
"And I'm ready to sort
of revolutionise what is here."
190
00:14:55,240 --> 00:15:00,600
# On a gathering storm
comes a tall handsome man
191
00:15:00,600 --> 00:15:05,760
# In a dusty black coat
with a red right hand. #
192
00:15:06,920 --> 00:15:09,440
There's an honesty
to how he portrays himself
193
00:15:09,440 --> 00:15:10,880
that I really like.
194
00:15:10,880 --> 00:15:13,560
You know, it doesn't feel
like he's trying to flatter himself.
195
00:15:13,560 --> 00:15:16,040
If anything, maybe,
he's making himself look slightly
196
00:15:16,040 --> 00:15:17,680
more sickly, or slightly worse.
197
00:15:19,320 --> 00:15:21,160
You can imagine going to Schiele,
saying,
198
00:15:21,160 --> 00:15:22,640
"can you do a painting for me?"
199
00:15:22,640 --> 00:15:26,240
And he shows you as a kind
of pornographic dead corpse.
200
00:15:26,240 --> 00:15:28,720
But there's a sense in
which the works are more monstrous
201
00:15:28,720 --> 00:15:30,840
than they are ideal.
202
00:15:30,840 --> 00:15:34,600
Schiele is concerned with the idea
of representations of the body
203
00:15:34,600 --> 00:15:38,880
which seem to undermine the idea
of transcendent beauty.
204
00:15:38,880 --> 00:15:41,680
# He'll reach deep in the hole
205
00:15:41,680 --> 00:15:44,520
# Heal your shrinking soul. #
206
00:15:44,520 --> 00:15:48,000
We know about 170 self-portraits
207
00:15:48,000 --> 00:15:51,280
which are declared as
self-portraits by Schiele.
208
00:15:51,280 --> 00:15:54,800
Gustav Klimt did not do one
single self-portrait.
209
00:15:56,600 --> 00:16:02,360
This maniac production of
self-portraits has its roots also
210
00:16:02,360 --> 00:16:06,920
in Vienna of 1900s,
where these questions of identity
211
00:16:06,920 --> 00:16:08,800
were highly debated.
212
00:16:08,800 --> 00:16:10,160
# He's a ghost
213
00:16:10,160 --> 00:16:11,600
# He's a god
214
00:16:11,600 --> 00:16:14,680
# He's a man, he's a Guru. #
215
00:16:19,240 --> 00:16:24,920
He wanted to feel what's the soul,
and how all these many,
216
00:16:24,920 --> 00:16:27,960
many persons, Egon Schiele,
fit together.
217
00:16:29,000 --> 00:16:34,360
This nakedness and his exploration
of the corporeality is something
218
00:16:34,360 --> 00:16:39,960
which he explores on his own body
but also on the body of the other.
219
00:16:39,960 --> 00:16:44,440
And it's highly interesting not
to split those two body of works
220
00:16:44,440 --> 00:16:46,680
apart but to see them together.
221
00:16:56,080 --> 00:17:00,000
I don't look at Schiele's images
and see them as victims.
222
00:17:00,000 --> 00:17:02,480
I've done a million types
of images in the past,
223
00:17:02,480 --> 00:17:05,400
and worked with a million different
photographers and artists.
224
00:17:05,400 --> 00:17:08,640
And some of those have
been quite sexualised.
225
00:17:09,720 --> 00:17:13,960
And in a lot of his images,
you can see the woman staring back.
226
00:17:13,960 --> 00:17:17,440
The subjects have more agency,
and they're looking at you.
227
00:17:17,440 --> 00:17:19,680
And just acknowledging
that they're being seen,
228
00:17:19,680 --> 00:17:22,840
and that they are agreeing
to being, being seen.
229
00:17:27,960 --> 00:17:31,840
The way he exploits
his female models...
230
00:17:33,240 --> 00:17:36,080
..certainly for today's tastes
is quite interesting.
231
00:17:36,080 --> 00:17:39,480
Because it's kind of at least equal
in terms of how he manipulates
232
00:17:39,480 --> 00:17:42,240
and exploits his male models,
including himself.
233
00:17:42,240 --> 00:17:45,360
He's not scared of male nudity.
234
00:17:45,360 --> 00:17:49,720
He is as explicit when it comes
to the depiction of his own body.
235
00:17:49,720 --> 00:17:53,720
But this doesn't constitute
a levelling of the playing field
236
00:17:53,720 --> 00:17:57,880
because Schiele is
doing this to himself.
237
00:17:57,880 --> 00:18:00,560
He's taking his own clothes off.
238
00:18:00,560 --> 00:18:05,880
His economic survival doesn't depend
on doing this for somebody else.
239
00:18:07,040 --> 00:18:10,640
And so I don't think
we can use these works
240
00:18:10,640 --> 00:18:14,480
to talk about female empowerment.
241
00:18:14,480 --> 00:18:19,160
Schiele views the women as equals.
242
00:18:19,160 --> 00:18:22,760
He is not a feminist in that sense.
243
00:18:22,760 --> 00:18:29,520
But in acknowledging the power
that these women have over him,
244
00:18:29,520 --> 00:18:35,280
he grants them a degree of sexual
autonomy that you rarely see
245
00:18:35,280 --> 00:18:38,880
in the work of male artists,
to this day.
246
00:19:01,400 --> 00:19:07,080
The women who were posing
for artists like Schiele,
247
00:19:07,080 --> 00:19:10,240
artists who couldn't pay them
a great deal of money,
248
00:19:10,240 --> 00:19:14,760
were, in the large, vulnerable,
often illiterate women,
249
00:19:14,760 --> 00:19:19,760
who had had to resort to posing
for artists and even possibly to go
250
00:19:19,760 --> 00:19:23,880
into prostitution,
there are very close lines
251
00:19:23,880 --> 00:19:28,200
between prostitution
and posing for artists.
252
00:19:41,520 --> 00:19:46,520
# Whoever drew my body
was colouring outside the lines
253
00:19:46,520 --> 00:19:51,480
# But sometimes I can't help
dressing to the nines
254
00:19:51,480 --> 00:19:53,480
# Fancy hats...#
255
00:19:53,480 --> 00:19:58,160
And the prostitutes at that time
used photographs of themselves.
256
00:19:58,160 --> 00:20:02,160
And in some of the watercolours
of Schiele, we can see
257
00:20:02,160 --> 00:20:08,360
almost the same posture and the same
clothes as on the photographs.
258
00:20:15,520 --> 00:20:19,280
The women are being almost
performative in some of the images,
259
00:20:19,280 --> 00:20:22,960
in a way that's super
sexualised and erotic.
260
00:20:22,960 --> 00:20:26,680
I don't know that that makes them
pornography, though.
261
00:20:26,680 --> 00:20:31,200
To me, it doesn't, but I don't know
if I'm just being too kind.
262
00:20:31,200 --> 00:20:34,440
# Once I knew a boy,
he tried to erase me... #
263
00:20:34,440 --> 00:20:40,880
The problem for me, as an audience,
with the explicit nature
264
00:20:40,880 --> 00:20:47,200
of everything that gets thrown
at me in the media today
265
00:20:47,200 --> 00:20:49,560
is the predictability.
266
00:20:49,560 --> 00:20:51,800
The magic doesn't come in.
267
00:20:53,400 --> 00:20:57,000
There needs to be some
enchantment with your lust.
268
00:21:04,040 --> 00:21:09,960
Pornography was absolutely
an influence on the artists
269
00:21:09,960 --> 00:21:12,480
of turn-of-the-century Vienna.
270
00:21:12,480 --> 00:21:16,640
You could buy pornographic
photographs anywhere.
271
00:21:16,640 --> 00:21:19,280
So, of course Schiele
would have had access
272
00:21:19,280 --> 00:21:21,680
to that sort of thing.
273
00:21:24,200 --> 00:21:28,640
He is always breaking
this distinction between art
274
00:21:28,640 --> 00:21:30,280
and pornography down.
275
00:21:31,320 --> 00:21:36,880
But in order for his work to exist,
to be collected, to be appreciated,
276
00:21:36,880 --> 00:21:40,720
he had to fall back
on this defence of it,
277
00:21:40,720 --> 00:21:43,560
not as pornographic, but as erotic.
278
00:21:51,120 --> 00:21:58,800
Artists at this time were trying
to reform both the content
279
00:21:58,800 --> 00:22:01,520
and the appearance of art.
280
00:22:03,000 --> 00:22:08,000
The minute Schiele steps forward
as a kind of leader,
281
00:22:08,000 --> 00:22:15,440
that is subject to a lot
of competition and infighting.
282
00:22:15,440 --> 00:22:17,720
And there's a lot of rivalry.
283
00:22:23,320 --> 00:22:26,080
Pesca, I want to leave Vienna.
284
00:22:27,200 --> 00:22:30,320
The sooner, the better.
It is so ugly here.
285
00:22:30,320 --> 00:22:33,480
I'm the object of everyone's
envy and deceitfulness.
286
00:22:33,480 --> 00:22:36,240
Those who were my fellows
not so long ago now look on me
287
00:22:36,240 --> 00:22:37,840
with scheming eyes.
288
00:22:37,840 --> 00:22:39,840
Vienna is all shadows.
289
00:22:39,840 --> 00:22:42,520
The city is black and that's that.
290
00:22:53,400 --> 00:22:55,320
I want light.
291
00:22:55,320 --> 00:22:58,640
I want to see the sun,
and bask in the drenched green blue
292
00:22:58,640 --> 00:23:01,440
valleys of evening.
293
00:23:01,440 --> 00:23:03,760
I want to go
to the Bohemian Forest,
294
00:23:03,760 --> 00:23:07,880
May, June, July, August,
September, October.
295
00:23:07,880 --> 00:23:10,920
I'd like to converse
with the flowers.
296
00:23:10,920 --> 00:23:14,760
To run, unstoppable, over plains.
297
00:23:17,520 --> 00:23:19,000
I want to kiss the soil.
298
00:23:20,960 --> 00:23:23,440
The soft, warm flowers of the moss.
299
00:23:26,880 --> 00:23:30,320
Early in the morning,
I should like to see
300
00:23:30,320 --> 00:23:33,560
the sun rise again.
301
00:23:33,560 --> 00:23:37,160
The soil as it breathes
and shimmers.
302
00:24:19,760 --> 00:24:24,960
It was great luck for
Schiele that he met Wally Neuzil,
303
00:24:24,960 --> 00:24:28,600
his muse, his model, his girlfriend.
304
00:24:28,600 --> 00:24:35,040
They were very young when they met,
and she was open to all his
305
00:24:35,040 --> 00:24:37,720
unconventional and new tendencies.
306
00:24:45,440 --> 00:24:51,240
Wally was maybe the most
important woman in Schiele's life.
307
00:24:51,240 --> 00:24:55,040
All the things we know
about her tell us
308
00:24:55,040 --> 00:24:57,720
that she was absolutely great.
309
00:24:57,720 --> 00:25:00,920
She supported him from
the beginning to the end.
310
00:25:16,200 --> 00:25:21,440
Schiele did not communicate
in writing with Wally
311
00:25:21,440 --> 00:25:23,880
because they were always together.
312
00:25:25,160 --> 00:25:29,880
Where we see Schiele and Wally
together, we see a deep
313
00:25:29,880 --> 00:25:33,000
relationship, a really
deep relationship.
314
00:25:49,200 --> 00:25:53,080
Dear Uncle Leopold,
it was impossible in Vienna,
315
00:25:53,080 --> 00:25:56,800
all the more so the more one
is entangled in public life.
316
00:25:56,800 --> 00:26:00,720
Everything by my hand that appeared
over the last two or three years,
317
00:26:00,720 --> 00:26:05,160
be it painting, drawing or writing,
prefigures what is to come.
318
00:26:08,320 --> 00:26:11,560
I know I've developed
enormously as an artist.
319
00:26:11,560 --> 00:26:15,360
I've experienced and continue
to experience to build.
320
00:26:16,320 --> 00:26:18,280
I've fought the art
business unceasingly.
321
00:26:21,200 --> 00:26:23,040
I'm pleased to have become so tough.
322
00:26:29,120 --> 00:26:32,120
I came to Neulengbach
intending to stay,
323
00:26:32,120 --> 00:26:37,280
for I mean to produce great
works, and for that, I need quiet.
324
00:26:40,280 --> 00:26:45,840
Schiele loved the countryside,
loved to see the trees,
325
00:26:45,840 --> 00:26:53,240
see the meadows, but at the end,
the people of the countryside
326
00:26:53,240 --> 00:26:55,680
did not really understand Schiele.
327
00:26:58,760 --> 00:27:03,720
You move to a town like Neulengbach
with a woman who's clearly
328
00:27:03,720 --> 00:27:07,080
not your wife, and already
you're in trouble.
329
00:27:09,160 --> 00:27:14,320
He painted in the garden
and had also models from this town,
330
00:27:14,320 --> 00:27:16,360
and painted them in
the nude in the garden,
331
00:27:16,360 --> 00:27:18,320
so the neighbours saw it.
332
00:27:18,320 --> 00:27:21,360
And the town population
did not like them.
333
00:27:22,400 --> 00:27:27,040
Kids begin to hang out
at your studio after school,
334
00:27:27,040 --> 00:27:28,720
just like the kids did in Vienna.
335
00:27:28,720 --> 00:27:31,760
But these are not street urchins,
336
00:27:31,760 --> 00:27:36,200
these are proper bourgeois children
337
00:27:36,200 --> 00:27:41,280
who are being brought into
a den of sin.
338
00:27:41,280 --> 00:27:46,680
And you can imagine the parents
talking about this and saying,
339
00:27:46,680 --> 00:27:52,640
you know, "What's going on up there
at that cottage with the artist
340
00:27:52,640 --> 00:27:54,560
"and that hooker?"
341
00:28:10,600 --> 00:28:15,960
Dear Carl Reininghaus, I must
insist on thanking you once more
342
00:28:15,960 --> 00:28:18,360
for the recommendation
of your lawyer.
343
00:28:18,360 --> 00:28:20,680
What has happened is an outrage.
344
00:28:22,480 --> 00:28:25,560
Some of the papers printed,
"14-year-old girl kidnapped,"
345
00:28:25,560 --> 00:28:27,360
which is entirely untrue.
346
00:28:31,800 --> 00:28:34,960
I have never so much as set foot
in the place where I am supposed
347
00:28:34,960 --> 00:28:37,400
to have met this girl.
348
00:28:37,400 --> 00:28:40,280
I have had 125 of my
drawings confiscated.
349
00:28:40,280 --> 00:28:42,360
I have been served a court
summons for Saturday,
350
00:28:42,360 --> 00:28:44,480
and naturally, it all
keeps me from my work.
351
00:28:48,160 --> 00:28:53,560
Schiele was approached
by a young girl who said she has to
352
00:28:53,560 --> 00:28:57,520
escape her parents,
and Schiele and her together made
353
00:28:57,520 --> 00:29:03,840
the mistake to bring
her to her grandmother, to Vienna.
354
00:29:03,840 --> 00:29:09,400
And so, the family in Neulengbach
accused him of abducting the child.
355
00:29:13,960 --> 00:29:19,480
Even though the charges of rape
and kidnapping are quickly dropped,
356
00:29:19,480 --> 00:29:23,840
the police start an investigation.
357
00:29:23,840 --> 00:29:30,760
And what they find is that,
yes, there is - quote, unquote -
358
00:29:30,760 --> 00:29:36,120
"pornographic art" hanging
on the walls of this studio.
359
00:29:36,120 --> 00:29:40,800
And yes, kids have been hanging out.
360
00:29:40,800 --> 00:29:46,920
So, if you have a nude
hanging on your wall,
361
00:29:46,920 --> 00:29:50,400
there's nothing wrong with that,
but the minute someone
362
00:29:50,400 --> 00:29:55,920
from the outside comes in and
sees it, that's public immorality.
363
00:30:38,040 --> 00:30:39,560
Hell...
364
00:30:39,560 --> 00:30:40,680
A hell.
365
00:30:40,680 --> 00:30:44,160
Not THE hell but a base,
vulgar, dirty, miserable,
366
00:30:44,160 --> 00:30:48,600
shaming hell is this into
which I've been thrown unexpectedly.
367
00:30:53,520 --> 00:30:56,920
I must live in my own excrement,
368
00:30:56,920 --> 00:31:01,160
breathe in my own poisonous,
sticky fumes.
369
00:31:02,800 --> 00:31:04,480
I'm unshaven.
370
00:31:04,480 --> 00:31:07,080
I cannot even wash myself properly.
371
00:31:09,240 --> 00:31:11,600
Yet, I am a human being.
372
00:31:11,600 --> 00:31:13,920
I still am, although imprisoned.
373
00:31:15,160 --> 00:31:17,040
Does no-one think of that?
374
00:31:33,360 --> 00:31:38,280
And thus, I, as I am torn
with my roots from the soil
375
00:31:38,280 --> 00:31:42,440
of my activity, in order
not to go really mad,
376
00:31:42,440 --> 00:31:47,200
painted, with trembling fingers
dipped in bitter spit.
377
00:31:47,200 --> 00:31:51,720
Using the stains on the plaster,
I painted landscapes
378
00:31:51,720 --> 00:31:53,520
and heads on the walls of the cell.
379
00:32:04,560 --> 00:32:09,600
Round me, all the colours
are extinguished.
380
00:32:09,600 --> 00:32:10,840
It's frightening.
381
00:32:16,160 --> 00:32:20,400
The problem at Neulengbach was
that there had been children.
382
00:32:20,400 --> 00:32:25,520
We can't say what happened
there exactly, in Neulengbach,
383
00:32:25,520 --> 00:32:27,680
so we can't judge.
384
00:32:27,680 --> 00:32:32,640
But we see that Schiele
thought that, for him,
385
00:32:32,640 --> 00:32:38,520
all these things are not a problem
at all, because he's an artist,
386
00:32:38,520 --> 00:32:43,360
and an artist can do things
other people can't do.
387
00:32:43,360 --> 00:32:46,040
That's what he trusted in,
388
00:32:46,040 --> 00:32:50,240
but he found out that
that's not true.
389
00:33:16,440 --> 00:33:22,160
At last, at last, last, at last,
the alleviation of pain.
390
00:33:22,160 --> 00:33:26,760
At last, paper, pencils, brush,
colours for drawing and writing.
391
00:33:27,800 --> 00:33:33,200
Excruciating were those wild,
confused, crude, those unchanging,
392
00:33:33,200 --> 00:33:37,520
unformed, monotonously grey,
grey hours.
393
00:33:58,000 --> 00:34:03,440
I have painted the cot in my cell,
in the middle of the dirty grey
394
00:34:03,440 --> 00:34:08,080
of the blankets, a glowing orange
which Wally brought me,
395
00:34:08,080 --> 00:34:11,640
as the single shining light
in the room.
396
00:34:11,640 --> 00:34:15,520
That little coloured spot
did me unspeakable good.
397
00:34:19,120 --> 00:34:24,640
If Schiele would have been proven
to have behaved illegally,
398
00:34:24,640 --> 00:34:29,600
it would have ruined
his career, very probably.
399
00:34:36,880 --> 00:34:41,400
One of his rich collectors
paid the lawyer for him.
400
00:34:42,640 --> 00:34:47,720
And it's quite probably
that the lawyer talked to the judge,
401
00:34:47,720 --> 00:34:49,840
and they said, "It's a young man.
402
00:34:49,840 --> 00:34:52,480
"He didn't do anything bad
until now.
403
00:34:52,480 --> 00:34:54,200
"Let's not ruin his life."
404
00:35:01,080 --> 00:35:03,560
At the hearing, one of my
confiscated drawings,
405
00:35:03,560 --> 00:35:06,080
the one that hung in my bedroom,
was solemnly burned
406
00:35:06,080 --> 00:35:08,800
over a candle flame
by the judge in his robes.
407
00:35:10,240 --> 00:35:15,920
It's inquisition, Middle Ages,
castration, hypocrisy.
408
00:35:15,920 --> 00:35:19,800
Go then to the museums and
cut up the greatest works of art
409
00:35:19,800 --> 00:35:21,160
into little pieces.
410
00:35:22,600 --> 00:35:26,000
He who denies sex is a filthy person
who smears in the lowest way
411
00:35:26,000 --> 00:35:29,040
his own parents
who have begotten him.
412
00:35:30,360 --> 00:35:36,520
I think the judge who gave
the ruling on his trial
413
00:35:36,520 --> 00:35:41,080
wanted to make an example of him,
414
00:35:41,080 --> 00:35:46,640
that it wasn't OK to produce
pornographic work,
415
00:35:46,640 --> 00:35:49,120
and to have this work on display
416
00:35:49,120 --> 00:35:52,400
in places where children
could see it, and rightly so.
417
00:35:56,480 --> 00:36:00,680
What you have to realise is that
418
00:36:00,680 --> 00:36:04,720
in early 20th century Vienna,
419
00:36:04,720 --> 00:36:08,360
the age of consent was 14,
420
00:36:08,360 --> 00:36:13,040
and the majority of prostitutes
421
00:36:13,040 --> 00:36:16,760
in Vienna were under
the age of consent.
422
00:36:16,760 --> 00:36:19,280
I mean, just think about that
for a moment.
423
00:36:19,280 --> 00:36:24,800
This is the society
that we are dealing with.
424
00:36:27,480 --> 00:36:31,920
Schiele is not doing anything
425
00:36:31,920 --> 00:36:36,240
out of the norm for that time.
426
00:36:40,200 --> 00:36:45,000
He picked up from where he'd
left off remarkably quickly.
427
00:36:45,000 --> 00:36:49,280
The difference is that the bodies
were more sexually mature
428
00:36:49,280 --> 00:36:53,400
than before, so that did
change his choice of models.
429
00:36:53,400 --> 00:36:55,960
But he still kept on doing the work
430
00:36:55,960 --> 00:36:59,800
that the authorities
were so concerned about.
431
00:36:59,800 --> 00:37:03,760
And I think that shows you
just how emboldened he felt,
432
00:37:03,760 --> 00:37:05,640
actually, by the trial.
433
00:37:05,640 --> 00:37:09,360
He knew that the trial could,
in terms of the market value
434
00:37:09,360 --> 00:37:12,720
of his work,
actually play to his favour.
435
00:37:12,720 --> 00:37:18,040
This was work that was even
more exciting with the history
436
00:37:18,040 --> 00:37:20,920
of the trial associated with it.
437
00:37:39,400 --> 00:37:45,720
She stuck by him
during the prison experience.
438
00:37:45,720 --> 00:37:50,960
And I think that was a
crucial moment
439
00:37:50,960 --> 00:37:54,120
in deepening
their relationship.
440
00:37:54,120 --> 00:37:59,040
I think that he was profoundly
grateful to her loyalty.
441
00:38:01,560 --> 00:38:07,960
And after that, he painted
this fantastic pair of portraits
442
00:38:07,960 --> 00:38:12,000
which act as a kind of betrothal.
443
00:38:12,000 --> 00:38:14,320
Not a formal engagement,
444
00:38:14,320 --> 00:38:16,720
but a declaration
of a kind of commitment.
445
00:38:18,800 --> 00:38:24,240
They look almost like a medieval
married couple's painting.
446
00:38:24,240 --> 00:38:30,160
She has these clear, open eyes,
this soft expression in her face.
447
00:38:31,480 --> 00:38:37,560
But you also feel an inner strength
which she never loses.
448
00:39:03,800 --> 00:39:08,080
After this existential crisis,
Schiele came back to Vienna
449
00:39:08,080 --> 00:39:11,280
and moved into a new studio.
450
00:39:11,280 --> 00:39:15,960
And as fate goes,
just on the other side
451
00:39:15,960 --> 00:39:20,320
of the street, there lived
the family with the two girls,
452
00:39:20,320 --> 00:39:25,440
and he waved and played and showed
himself from the window
453
00:39:25,440 --> 00:39:28,120
from one side of the street
to the other side.
454
00:39:31,360 --> 00:39:35,680
Dear Miss, I don't know
whether the blonde young lady
455
00:39:35,680 --> 00:39:37,760
or the brunette
is the one named Ada.
456
00:39:37,760 --> 00:39:40,120
Both are as wicked as I.
457
00:39:40,120 --> 00:39:42,800
We may not be neighbours for much
longer, because I mean to go
458
00:39:42,800 --> 00:39:46,200
to Paris, having received
an invitation.
459
00:39:46,200 --> 00:39:48,360
Why not visit me?
460
00:39:48,360 --> 00:39:51,480
I know this would not
be considered appropriate,
461
00:39:51,480 --> 00:39:55,520
but I would do you no more harm
than your beloved windchimes do.
462
00:39:55,520 --> 00:39:57,560
Please do write to me.
463
00:39:57,560 --> 00:40:01,720
For now, I send greetings
to you and your sister,
464
00:40:01,720 --> 00:40:04,720
affectionately,
kissing your hand, and...
465
00:40:07,320 --> 00:40:08,680
Egon Schiele.
466
00:40:11,960 --> 00:40:18,240
It wouldn't have been proper
for a young man to approach
467
00:40:18,240 --> 00:40:25,480
two such proper bourgeois young
women, so the next thing he does is,
468
00:40:25,480 --> 00:40:30,760
he writes a letter
to Mrs Harms and says,
469
00:40:30,760 --> 00:40:33,160
"You know, I'd like to take
your daughters to the movie,
470
00:40:33,160 --> 00:40:38,800
"and don't worry, my mistress Wally
is going to act as chaperone."
471
00:40:43,160 --> 00:40:46,000
Concerning the movies, we approve.
472
00:40:46,000 --> 00:40:49,200
We suggest Monday the 14th
at the parkino,
473
00:40:49,200 --> 00:40:51,040
with Wally, of course.
474
00:40:51,040 --> 00:40:52,880
Who will get the tickets?
475
00:40:52,880 --> 00:40:54,400
Best, Adele.
476
00:41:05,600 --> 00:41:11,480
The Harms household was very dull,
and this was exciting.
477
00:41:12,520 --> 00:41:17,080
Adele was still alive
when I started my Vienna
478
00:41:17,080 --> 00:41:20,240
researches, and so I had many
interviews with her.
479
00:41:20,240 --> 00:41:24,280
And she said that Schiele
was just a shooting star
480
00:41:24,280 --> 00:41:27,920
of his generation,
and that people knew it already.
481
00:41:27,920 --> 00:41:31,800
And no wonder they were flattered
when Schiele begged them to go
482
00:41:31,800 --> 00:41:34,200
to the movies with him,
with the chaperone,
483
00:41:34,200 --> 00:41:35,520
of course, of Wally.
484
00:41:37,880 --> 00:41:40,120
Are you under house arrest?
485
00:41:40,120 --> 00:41:42,080
How about a little walk together?
486
00:41:42,080 --> 00:41:43,640
Should I...
487
00:41:43,640 --> 00:41:46,600
May I send a drawing
of my beloved Edith?
488
00:41:47,680 --> 00:41:49,400
I'll enclose it right here.
489
00:41:49,400 --> 00:41:51,720
Do give a sign when we can
take a walk,
490
00:41:51,720 --> 00:41:54,360
sometime around half past five.
491
00:41:54,360 --> 00:41:56,680
Many kisses, Egon.
492
00:42:08,280 --> 00:42:10,080
He was handsome.
493
00:42:10,080 --> 00:42:13,960
He had extraordinary hair, she said.
494
00:42:13,960 --> 00:42:17,320
And then those crazy,
stuck-out ears.
495
00:42:17,320 --> 00:42:19,680
He made quite a splash
on the street, and it was fun
496
00:42:19,680 --> 00:42:22,760
to be walking with
his arm around you.
497
00:42:22,760 --> 00:42:26,080
So, yeah, it was like
falling for a rock star.
498
00:42:28,040 --> 00:42:31,160
Dear Egon, I'm so sorry to say
that there is no way I can come
499
00:42:31,160 --> 00:42:32,880
to you today.
500
00:42:32,880 --> 00:42:36,120
My cheek is so swollen that
I dare not be seen in public.
501
00:42:36,120 --> 00:42:38,400
All that should be
over tomorrow, I hope.
502
00:42:38,400 --> 00:42:40,120
Should I visit tomorrow?
503
00:42:41,160 --> 00:42:42,440
Let me know.
504
00:42:42,440 --> 00:42:45,800
But be sure that no-one sees,
least of all my mother.
505
00:42:45,800 --> 00:42:48,080
I am so very fond of you.
506
00:42:48,080 --> 00:42:49,360
Edith.
507
00:43:19,280 --> 00:43:22,440
I intended to marry advantageously.
508
00:43:25,160 --> 00:43:27,280
Maybe not Wally.
509
00:43:41,640 --> 00:43:48,440
Schiele wanted to leave the
wild, artistic life behind him,
510
00:43:48,440 --> 00:43:54,280
and wanted to build up
a serious bourgeois family.
511
00:43:54,280 --> 00:43:58,840
And this choice was Edith
and not Wally.
512
00:44:06,160 --> 00:44:12,160
Dear Egon, I am determined
not to lose you, come what may.
513
00:44:14,440 --> 00:44:18,800
I want our marriage
immaculate from the outset.
514
00:44:18,800 --> 00:44:20,600
I shall demand nothing of you.
515
00:44:20,600 --> 00:44:22,640
I don't want to do that,
but at this point,
516
00:44:22,640 --> 00:44:25,960
you can surely see
the problem of your friend.
517
00:44:26,960 --> 00:44:29,640
I don't think I'm asking
the impossible.
518
00:44:29,640 --> 00:44:36,400
After Egon proposed to Edith,
she said to him in no uncertain
519
00:44:36,400 --> 00:44:39,640
terms, you've got
to make a clean break.
520
00:44:39,640 --> 00:44:42,600
She wasn't naive about
what was going on.
521
00:44:45,160 --> 00:44:47,080
I believe in you.
522
00:44:47,080 --> 00:44:49,960
You stand highest of all for me,
and I shall obey you.
523
00:44:49,960 --> 00:44:54,040
I will do, or refrain from doing,
whatever you wish,
524
00:44:54,040 --> 00:44:57,560
because I know you would never
ask the impossible of me,
525
00:44:57,560 --> 00:45:00,640
namely, to compromise
my dignity as a woman.
526
00:45:03,440 --> 00:45:07,120
I am writing almost in darkness,
in the water closet.
527
00:45:07,120 --> 00:45:09,840
Please don't let that
annoy you, either.
528
00:45:09,840 --> 00:45:13,000
Believe in me as I believe
in you and we will be the happiest
529
00:45:13,000 --> 00:45:15,480
creatures on God's earth.
530
00:45:15,480 --> 00:45:17,280
Farewell now.
531
00:45:17,280 --> 00:45:20,120
I love you more than
anything in the world.
532
00:45:20,120 --> 00:45:21,560
Your Edith.
533
00:45:50,520 --> 00:45:56,400
Anyone who has ever lived through
the end of a relationship
534
00:45:56,400 --> 00:46:01,760
can relate to that painting,
because it does encapsulate
535
00:46:01,760 --> 00:46:05,680
that feeling of a dying love.
536
00:46:07,120 --> 00:46:12,000
It is, in my view,
a goodbye picture to Wally,
537
00:46:12,000 --> 00:46:15,920
showing very clearly this,
we have to break up,
538
00:46:15,920 --> 00:46:18,080
but we cannot leave each other.
539
00:46:18,080 --> 00:46:20,240
So, it's one, I think,
one of the greatest
540
00:46:20,240 --> 00:46:21,560
paintings he did.
541
00:46:37,080 --> 00:46:41,200
Dear Gerti, we live
in the most daunting times
542
00:46:41,200 --> 00:46:42,680
the world has ever seen.
543
00:46:46,080 --> 00:46:50,280
We have grown used to every
kind of deprivation.
544
00:46:50,280 --> 00:46:53,880
Hundreds of thousands of people
are perishing miserably.
545
00:46:53,880 --> 00:46:57,960
Everyone living or dying
must bear his fate.
546
00:46:57,960 --> 00:47:00,640
We must become
hardened and fearless.
547
00:47:02,280 --> 00:47:07,360
Whatever happened before 1914
belongs to a different world.
548
00:47:07,360 --> 00:47:09,240
This is why we shall
always look to the future.
549
00:47:19,760 --> 00:47:24,600
Does Wally enlist in the Red Cross
out of heartbreak,
550
00:47:24,600 --> 00:47:29,480
or is she an independent woman
who is now starting a new life
551
00:47:29,480 --> 00:47:31,080
as a nurse on her own?
552
00:47:32,600 --> 00:47:39,040
We'd love to see her as a new woman
and not as a heartbroken,
553
00:47:39,040 --> 00:47:42,360
jilted lover, but the truth is,
we don't know.
554
00:47:57,000 --> 00:48:01,720
Dear Anton, deemed fit
to report for duty,
555
00:48:01,720 --> 00:48:03,880
in Prague on 21st of June.
556
00:48:05,480 --> 00:48:07,560
Warm regards, Egon Schiele.
557
00:48:13,600 --> 00:48:17,600
I think, without the breaking
out of the First World War,
558
00:48:17,600 --> 00:48:20,840
he would not have married so fast.
559
00:48:20,840 --> 00:48:25,440
But when he was drawn
into the Army in 1915,
560
00:48:25,440 --> 00:48:29,640
he married very quickly,
because when someone was married
561
00:48:29,640 --> 00:48:34,480
and the woman lived in the same
town, you were permitted to sleep
562
00:48:34,480 --> 00:48:39,480
in the quarters with your wife
and not with your fellow soldiers.
563
00:48:40,480 --> 00:48:44,000
They have two or three days alone
in Prague in a hotel,
564
00:48:44,000 --> 00:48:45,320
and then he's off.
565
00:48:56,440 --> 00:48:58,920
My dear Egon, last night,
I was too worried about you
566
00:48:58,920 --> 00:49:00,840
to sleep at all.
567
00:49:00,840 --> 00:49:04,520
From Kemmelbach to Weisselburg
by night, did you come to any harm?
568
00:49:06,680 --> 00:49:10,080
My dear, lovely Edith,
it is all wretched.
569
00:49:12,280 --> 00:49:16,760
I will tell you everything
when we are together again.
570
00:49:16,760 --> 00:49:19,400
I'll be happy beyond
all words to see you again,
571
00:49:19,400 --> 00:49:21,800
and to know where you are.
572
00:49:21,800 --> 00:49:25,520
With heartfelt kisses, your Egon.
573
00:49:27,760 --> 00:49:29,560
I miss you terribly.
574
00:49:29,560 --> 00:49:31,600
I kiss you a thousand times.
575
00:49:32,760 --> 00:49:36,080
I'm awaiting you impatiently,
with innumerable kisses,
576
00:49:36,080 --> 00:49:37,640
your Edith.
577
00:49:38,880 --> 00:49:43,760
Working conditions from 1915
became much more difficult for him.
578
00:49:45,000 --> 00:49:49,520
The Army didn't leave him much time
to develop as intensely
579
00:49:49,520 --> 00:49:50,760
as he did before.
580
00:50:05,920 --> 00:50:11,200
Finally, he achieved
what had always been his goal,
581
00:50:11,200 --> 00:50:18,600
which was to work for the war
press headquarters in Vienna.
582
00:50:18,600 --> 00:50:21,320
From that time on,
he's basically got a free ticket
583
00:50:21,320 --> 00:50:23,040
to do whatever he wants.
584
00:50:36,400 --> 00:50:38,360
By 1917-18,
585
00:50:38,360 --> 00:50:44,440
they have settled into the marriage,
586
00:50:44,440 --> 00:50:46,760
for better and for worse.
587
00:50:51,920 --> 00:50:56,040
Whatever I do or don't do,
everything is only for him.
588
00:50:56,040 --> 00:50:59,480
For him alone do I live and die.
589
00:51:01,560 --> 00:51:03,920
I think they were truly in love.
590
00:51:05,680 --> 00:51:10,200
He loved her in his way,
591
00:51:10,200 --> 00:51:15,120
but Edith is totally unequipped
592
00:51:15,120 --> 00:51:18,440
to be the mate for
someone like Schiele.
593
00:51:21,360 --> 00:51:25,440
Egon had married a prude,
after all of these affairs
594
00:51:25,440 --> 00:51:27,080
and doings with women.
595
00:51:27,080 --> 00:51:31,320
So, he had to teach Edith,
and Edith was purposefully
596
00:51:31,320 --> 00:51:33,400
a slow learner, I would say.
597
00:51:40,560 --> 00:51:46,560
Edith rarely will
strip down to the full nude.
598
00:51:48,280 --> 00:51:53,040
She's, at most, or at least,
shall I say,
599
00:51:53,040 --> 00:51:56,040
stripped down to her knickers.
600
00:51:56,040 --> 00:51:59,800
And even there, she looks
quite uncomfortable.
601
00:52:03,760 --> 00:52:07,960
She didn't want to be recognised
in her husband's nudes,
602
00:52:07,960 --> 00:52:11,640
and you know, she was
a proper bourgeois woman,
603
00:52:11,640 --> 00:52:15,440
and she said, you know,
604
00:52:15,440 --> 00:52:19,240
I mean, "OK," you know,
605
00:52:19,240 --> 00:52:22,240
"I'll masturbate for you,
but please, please,
606
00:52:22,240 --> 00:52:23,640
"hide my face."
607
00:52:43,600 --> 00:52:48,640
Just at the beginning of 1918,
two things happened -
608
00:52:48,640 --> 00:52:52,840
Gustav Klimt died,
and there was an important
609
00:52:52,840 --> 00:52:58,240
exhibition at the Secession,
where Schiele was given the main
610
00:52:58,240 --> 00:53:01,600
space, and where
he sold quite a lot.
611
00:53:03,080 --> 00:53:08,000
And he was considered,
at that time, as the main figure
612
00:53:08,000 --> 00:53:09,640
after Klimt's death.
613
00:53:11,920 --> 00:53:14,840
Maybe never before has
the excitement of a moment
614
00:53:14,840 --> 00:53:17,360
carried such a compulsive charge.
615
00:53:17,360 --> 00:53:21,160
The amount of interest in new art,
it's unbelievable.
616
00:53:22,320 --> 00:53:26,280
No other exhibition of contemporary
art or the very latest work
617
00:53:26,280 --> 00:53:28,720
ever attracted so many people.
618
00:53:28,720 --> 00:53:31,400
On the opening day,
it was impossible to get in
619
00:53:31,400 --> 00:53:33,520
after noon, there were so many.
620
00:53:33,520 --> 00:53:36,840
And no fewer on Sundays
around that time.
621
00:53:36,840 --> 00:53:40,080
More art has been sold than
ever before at an exhibition.
622
00:53:42,480 --> 00:53:44,800
Schiele believed in his own talent.
623
00:53:44,800 --> 00:53:48,320
He believed that in other
generations, he would be admired
624
00:53:48,320 --> 00:53:51,880
and appreciated for
the genius he really was.
625
00:53:56,600 --> 00:54:00,320
Adele would talk about
how stubborn Edith could be.
626
00:54:00,320 --> 00:54:03,200
Yes, she was in awe
of Egon as an artist,
627
00:54:03,200 --> 00:54:05,400
but other times,
she just lost interest,
628
00:54:05,400 --> 00:54:08,640
lost patience in his
constant complaining,
629
00:54:08,640 --> 00:54:13,200
or pounding on his own chest -
"I am the best of the best."
630
00:54:16,880 --> 00:54:19,120
Today, when I lack
for nothing physically,
631
00:54:19,120 --> 00:54:22,640
I am, again and again,
psychologically alone.
632
00:54:24,320 --> 00:54:27,840
Egon certainly loves me,
but in his own way.
633
00:54:27,840 --> 00:54:30,440
And he does not want to share
his thoughts with me.
634
00:54:30,440 --> 00:54:34,280
He makes me stand aside and will not
let me take part in the growth
635
00:54:34,280 --> 00:54:36,040
or inception of an idea.
636
00:54:44,440 --> 00:54:47,400
Would it be better if I had a child?
637
00:54:47,400 --> 00:54:50,560
I would then possess a part of him
with which I would be allowed
638
00:54:50,560 --> 00:54:52,360
to concern myself.
639
00:54:55,120 --> 00:54:58,000
The thought of a child has not
left me since I have become aware
640
00:54:58,000 --> 00:54:59,600
of being pushed aside.
641
00:55:15,640 --> 00:55:22,360
It was an influenza outbreak
that was very lethal
642
00:55:22,360 --> 00:55:25,040
and very contagious.
643
00:55:25,040 --> 00:55:29,640
And it is said that
by the end of the war,
644
00:55:29,640 --> 00:55:35,440
the Spanish flu killed more people
than were killed by the war itself.
645
00:55:37,680 --> 00:55:43,240
By autumn of 1918,
646
00:55:43,240 --> 00:55:47,920
the flu was epidemic in Vienna.
647
00:55:53,040 --> 00:55:59,160
Dear Mother Schiele,
Edith caught the Spanish flu
648
00:55:59,160 --> 00:56:00,520
eight days ago yesterday.
649
00:56:02,520 --> 00:56:04,200
Now, she has pneumonia.
650
00:56:06,040 --> 00:56:08,280
She's also six months pregnant.
651
00:56:09,960 --> 00:56:13,680
She's very seriously ill,
and her life is in danger.
652
00:56:15,480 --> 00:56:18,760
Already, I prepare
for the very worst,
653
00:56:18,760 --> 00:56:21,840
for she now has constant
trouble breathing.
654
00:56:24,480 --> 00:56:27,960
Affectionate regards
to you and Melanie.
655
00:56:27,960 --> 00:56:29,320
Egon.
656
00:57:51,760 --> 00:57:56,120
We see the development
657
00:57:56,120 --> 00:58:00,480
between 1908 and 1918.
658
00:58:00,480 --> 00:58:04,200
These are ten years,
and within this ten years
659
00:58:04,200 --> 00:58:05,560
happened so much.
660
00:58:08,480 --> 00:58:13,440
We are talking like about
an old man, but the thing is
661
00:58:13,440 --> 00:58:18,280
that we're talking about an artist
that was 28 years old
662
00:58:18,280 --> 00:58:23,080
when he died,
so he was at the very beginning
663
00:58:23,080 --> 00:58:25,040
of something that never happened.
84147
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