Egon Schiele's Last Years at the Leopold Museum

The exhibition “Changing Times: Egon Schiele’s Last Years, 1914–1918” delves into a transformative period in Schiele’s career that has often been overshadowed by his earlier, more provocative work. During these final years, Schiele moved away from the radical, contorted forms of his early Expressionist period and embraced a more realistic and empathetic style. His linework softened, his figures became more physically present, and his focus shifted toward emotional depth rather than sensual provocation. The exhibition, featuring around 130 artworks and supplemented with historical materials like the previously unpublished diary of Edith Schiele, offers a nuanced portrayal of the artist’s personal and creative evolution during a time of global and personal upheaval.

Organized into nine thematic sections, the exhibition tracks Schiele’s artistic and emotional journey through topics such as self-exploration, relationships, family life, and his experience in the army. Standout pieces include his final oil painting, a portrait of fellow artist Albert Paris von Gütersloh, and newly discovered works on paper being shown publicly for the first time. These works suggest that Schiele had achieved a new level of maturity and technical finesse. His later portraits reveal a deepening concern for the inner lives of his subjects, characterized by a growing psychological sophistication and a more expressive use of color and texture in his paintings.

The exhibition also explores Schiele’s turbulent personal life, including his separation from his teenage muse Wally Neuzil and his subsequent marriage to Edith Harms. Edith’s diary provides an intimate window into their largely unhappy relationship, marked by emotional strain and physical separation, especially during Schiele’s military service. Though Schiele detested army life, a transfer arranged by a friend allowed him more freedom to continue his artistic work. Despite personal challenges, this period marked Schiele’s rise to prominence, culminating in a sold-out exhibition at the Vienna Secession in 1918.

I only knew Egon Schiele from his raw expressive nudes with their twisted body shapes and his intense self-portraits. I was happily surprised to learn that he also painted some amazing landscapes and cityscapes. Perhaps because they were unfamiliar to me I actually found them more interesting than the nudes and wish he had produced more of them. “Herbstbaum in bewegter Luft (Winterbaum)” (1912) borders on abstraction. “Berg am Fluss” (1910), which is part of the permanent collection of the Leopold Museum reminded me of the work of Anna Eva Bergman, who went one step further in blurring the boundary between landscape and abstraction.

Ultimately, "Changing Times" sheds light on an often-overlooked phase of Schiele’s career, one marked by technical refinement, emotional resonance, and thematic complexity. It challenges the common perception of Schiele as solely a provocateur, instead presenting him as an artist grappling with love, loss, and legacy in the final years of his short life. Through a carefully curated combination of art, personal documents, and historical context, the exhibition offers a deeply human portrait of Schiele as he matured into one of Austria’s most compelling modernist voices, just before his life was cut tragically short at the age of 28.

The Leopold Museum is a wonderful museum and I’m glad I finally had a chance to visit.

Zeiten des Umbruchs. Egon Schieles letzte Jahre: 1914-1918 is at the Leopold Museum in Vienna until 13 July 2025.