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Portrait of the Dying Edith Schiele, by Egon Schiele, 1918. Wikimedia Commons. Let’s begin with Egon Schiele’s elbows: the Austrian artist’s swollen left elbow bent over his head in a gesture of support, the right drawn across his face, almost directly under his nose. Here, in his 1910 painting Seated Male Nude (Self-Portrait), rendered in muddy browns and sickly yellows, Schiele’s limbs look withered, his joints too pronounced. His elbows frame his face, drawing attention to one arched brow and a glowing reddish eye (a feature made even more striking by the repetition of its color and shape in nipples, genitals, and navel). Elbows direct arms that appear severed; his left hand disappears behind unruly hair, and his right arm seems to disintegrate below the joint. He looks close to what the art critic Julius Meier-Graefe described six years prior as the New Vienna, works of art that showed figures who were “shockingly thin, weak of bone and precociously diseased.”

Czech republicWikimedia commonsLaura spinneyMaureen healyWally neuzilEgon schieleJohannes fischerJulius meier graefeGustav klimtMartha feinEdith schieleAnton faistauerSeated male nudeNew viennaMale nudeDying edith schiele