Egon Schiele (1890-1918) (after) - "The Hug, 1917"

- Egon Schiele (after), offset lithograph on heavyweight textured matte paper (300gsm approx.).

- Embossing stamp.

- Stamp on verso.

- Size: 40 x 68,5 cm.

- Condition: excellent. Never framed, never exposed.

- Egon Schiele (1890–1918) was one of the most radical and influential figures of early 20th-century European Expressionism. A protégé of Gustav Klimt, Schiele quickly broke away from decorative Secessionist aesthetics to develop a highly personal language marked by raw emotional intensity, distorted anatomy, sharp contours, and an unflinching exploration of sexuality, intimacy, and psychological vulnerability.

His art focuses primarily on the human body often nude, contorted, and isolated used as a vehicle to express existential tension, desire, anxiety, and mortality. Schiele’s line is nervous and incisive, his color palette often earthy and bruised, and his compositions deliberately unsettling. Rather than idealizing the body, he exposed it, making his work controversial during his lifetime but profoundly modern in retrospect.

Schiele’s career was tragically short. He died at the age of 28 during the Spanish flu pandemic of 1918, only days after his pregnant wife Edith. Despite this, he produced an astonishingly intense body of work in less than a decade, which today places him among the most important artists of modern art.

The Hug, painted in 1917, is one of Schiele’s most powerful late works and a mature synthesis of his themes. The composition depicts two intertwined figures locked in an intimate, almost desperate embrace. Their bodies are rendered with muscular tension, angular limbs, and expressive distortion, emphasizing emotional urgency rather than sensual harmony.

The figures lie on a crumpled white sheet that acts both as a compositional anchor and a psychological space isolated from any narrative context. The background is roughly worked, with visible brushstrokes that heighten the sense of immediacy. The embrace oscillates between tenderness and anguish, love and dependence, reflecting Schiele’s late-period focus on human connection as both salvation and fragility. Compared to his earlier, harsher erotic works, The Hug shows greater emotional depth and painterly richness, while retaining his unmistakable intensity.

Some artists of similar importance, Basquiat, Picasso, Hockney, Lichtenstein, Sorolla, Banksy, Brainwash, Miró, Nara, Soulages, Lagasse, Ramos, Rothko, Lautrec, Klimt, Modigliani, Hirst, Chagall, Koons, Haring, Indiana, Mondrian, Groening, Richter, Monroe, Kusama, Murakami, Testa, Villemot, Oldenburg, Hopper, Ripolles, Wesselmann, Magritte, Jenk, Orlinski, Wille, Rizzi, Manara, Thiebaud, Herrera, Laurent, Klein, Coa, Dior, Vuitton, Kaws, Valentino, Cappiello, Kandinsky, Warhol, Buffa, Tura, Castle, Ponti, Knoll, Corbusier, rober, Johns, Starck, Breuer, Nelson, Mogensen, Ponti, Bertoia, Urquiola, Chillida. Magistretti, Gauguin, Monet, Cezanne, Van Gogh, Botero, Katz, Braque, among others.














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