Frauenbildnis II 

Editor: So here we have "Frauenbildnis II," a drawing by Egon Schiele. It's a portrait of a woman with a striking hat. It's interesting how the body is sketched so lightly compared to her face. How should we consider the means used in this piece? Curator: I think a materialist approach helps understand the relationship between Schiele, his model, and the paper. Notice the quick, almost frantic lines. What sort of social and economic circumstances could drive such a method? Editor: Maybe a need for speed, pressure from the sitter, or lack of materials? It feels very raw and immediate. The figure itself is obviously an element, but I wonder, can we understand how the production shapes her meaning? Curator: Absolutely. Schiele’s expressionist style, with its distorted lines, was deliberate. We have to consider the materiality of that choice. The thin paper and the relatively simple materials were inexpensive – does that reveal Schiele’s class, or those of his subject matter? Editor: I hadn't thought about the cost of the materials being relevant. It definitely influences the final artwork we see! I was so focused on the portrait itself, it did not register as such. Curator: Yes. Think about the labor involved in creating this piece and how the consumer, the viewer, encounters that labor through the marks on the paper. Schiele’s use of line emphasizes his own hand and process of making, therefore exposing his efforts and the conditions surrounding it. Editor: Seeing it this way opens up so many questions about art creation and social statements. Now the portrait feels so charged by that awareness! Curator: It's important to always keep the raw matter in mind. I find, at the very least, it often reveals something fundamental about the artwork.