i am their words when they have none i say i love you without a sound. i'm sorry without a voice. i inspired a great i stopped them painters poets pattern makers i've been amused to them all. but in my experience people underestimate the power of a pretty little flower. because their life does start with me. and it could end without me.

you have all of that's true the people don't seek us don't have clothes they can sheely a key quote by going shielded from the time of his imprisonment maintains that art

cannot be modern. this was an extremely radical claim to make which on the one hand shows the rebellious side of this very young painter. and at the same time summarizes the essence of viennese modernism is this which was not a modernism that promised a glorious future or claim to improve the human condition or bring mankind happiness but. it was far more and introspection or return to one's inner self. is a self critical modernism if you take them in the known and it was this return to the self they gave modernist viennese art of power and an appeal that other art movements were lacking. peacefully polk. good is of no but.

the real part museum in vienna houses the world's most comprehensive collection of works by a go and see them. the old collective good old flu pod began acquiring the oil paintings washes and drawings in the one nine hundred fifty s. his passion for the austrian pain to serve to revive interest in an artist who otherwise may well have been forgotten. i was a not just with an enormous practice i also had three children and a crazy husband i don't mean that disparagingly but in the sense that he could take huge one thousand things he said right from the start that he was a great artist who was not appreciated. back in the one nine hundred fifty s. no one gave she never thought. you could export and import his works without austria's federal monuments authority taking any interest and people said my husband was crazy collecting she. said she'd.

feel that everything started but surely set the standard for the generations of contemporary artists who followed him in the twentieth and twenty first century as he set new rules for artists he said an artist is self sufficient a rebel and all voluntary black and agitator an artist works for no one but himself . sheilas works were considered obscene and we know he spent a brief time in jail but in reality his works were exactly the opposite they were characterized by an almost painful clarity and openness a rawness and purity. and when you see the pictures here you notice that he actually approached all of his subjects is flowers and nudes and landscapes all in the same way always with the same empathy and devotion went ok i think.

she was naked truth is effective for another vienna museum the other betina its director has a knack for staging exhibitions that pull in the crowds he acknowledges a deep personal fascination with shiva is peace as an adult the two needed to say that any serious encounter with art offers a window of self discovery a confrontation in which we wrestle with the existential questions that affect us is a platitude. it's a big claim and very often exaggerated but it's true of aegon sheila i don't think anyone can view a single one of his news without questioning not just the artist's stance on sexuality nudity and vulnerability but their own as well that. if you find the right. words. for me. the emotional encounter with a gun sheila's work is do not only to the delight i take of his incredible

virtuosity as an artist but also an encounter and a confrontation with myself just. legend has it that sheila never used any razor and needed very little time to produce a drawing sometimes no more than a few minutes. right in this enormous energy. was it an act of liberation and if so from what. the world's leading experts on a gone sheila is jane kelly of from new york her answer to these questions is closely linked to the vienna academy of fine arts. for sheila obviously the. principal fear. for expressing human existence in all of its

diversity and complexity was the human body. i think that he was one of the greatest first students of and then masters of the human form he could draw it with perfect accuracy but since he had such a complete command over the body he could also deadened it and move it distorted and make it tell a story and i think she was very interested to explore this question people look at his war. and they say my goodness. it's so terrify it's so

ugly and he even comments that i have doubtless pated terrible pictures do they believe i did it on purpose just to shock the borsch was see this has never been the case but there are specters that are brought forth by longing and i have painted such specters not because i enjoyed it i just have to. memories of it on sheila's childhood in the history of the place the austrian town of turin on the danube. heavy steam trains shook the sheila family home by bray sions could be seen and felt in the apartment. and trains with the subject of young a guns first drawings. his father she was station master in tune

a key role in the austria-hungary an empire a hot tempered man he sensed his son's exceptional talent very early on. and you can see through that scene to see in those one very revealing story is where having noticed how his son spent all his time drawing it off she loved bought him a drawing pad and told him that every day after doing his latin homework he should drop picture on one page and then he'd look at it when it was filled. eight of sheila evidently thought this would give him a few weeks peace. he gave a gun in the exercise book in the morning when he returned home for lunch he saw that all the pages had already been filled and that they were strewn all over the apartment. he had a fit and burned the drawings. this story tells us that a gun father was willing to foster his son's talent but only on his own terms.

in other words the father specified that one hour a day would be sufficient to foster his son's artistic talents. so you see a guy who didn't have mozart's father otherwise eight of sheila would have taken his cue from his son and realized that what he was offering in terms of fostering a guns talent was nowhere near enough. by all appearances the family led a comfortable middle class life. the three children grew up in safety and prosperity. but even today these rooms seem to tell a different story. around the year nine thousand nine hundred eighty dollars she lives began to suffer from the symptoms of untreated syphilis. as he succumbed to insanity the family stable life became unhinged.

who are you and what are you doing here. i'm getting. i was born here in one thousand nine hundred four. in the i make on this youngest sister. and that's where he slept after over there in the corner on the other side is melanie's bed she was that elder sister you lived here for many years what memories do you still have feelings that are stuck if so much happened here but i can't remember at all they say you and your brother and sister had a very comfortable life here the sylvia's frightened things onto always what they

seem. whenever we went out we were different in here a lot of things happened my father. his deceased. we didn't really understand what was happening he lived perhaps melanie knew more do you want to tell us about it. yes so often but stay over there. we children must already have been asleep when suddenly we heard loud noises coming from our parents' bedroom where they arguing. arguing my mother of all people arguing with my father no she was patience personified she put up with everything so what happened for you know he lit a fire i heard him opening the stove door and be off then i got up you know it was

the middle of the night five my father was burning stacks of paper i didn't know what exactly was upon you but i only found out later that he burned all of our shareholdings so. the glow from the fire fell on his face he faced those ah yes all the illuminated face of a father who had gone mad and was so good modern in fact us. how did you handle it did you talk to your brother about it but i talk about it with him by then my brother was living in closed annoyed. we never discussed my

father i saw him but look at work. that was his way of talking about it. on a test story and spend a lot of time trying to decode she lives off an enigma and allegorical iconography . is the key to his in a world. the art center in the small town of google near vienna was once a psychiatric institute that used on therapy as a form of treatment for its patients today it's an onsite assisted living facility called the house of artists which enables patients to live independently as they pursue artistic work. the intensity of the works on display here is reminiscent of

sheila my other. friend from the life you live was born into wasn't necessarily a good one he was a hard struggle. as a child he witnessed his father's outings to vienna to visit prostitutes where he can crack the disease that ultimately destroyed him and the whole family around kirkland thank you for. after failing his classes egon schiele it was sent to a new school enclosed to annoy book in one thousand or two at the age of twelve he now only spent the weekends with his family in turin. but he continued to struggle at school and had to repeat a great for the second time. in the years nine hundred four and nine hundred five live with the host nation family. this son peter was a renowned doctor and researcher in the field of radiology the mysterious images illuminating the in the workings of the human body captivated fourteen year old

egon a fascination that resurfaces in his. disproved. back then very few people had access to x. ray images they were exclusively available to specialists they could be projected in a lecture hall via an epi di a scope that was possible but they weren't widely viewed by the public like they are today so there was very little public awareness about x. rays. and it's likely that his personal relationship with holtz connect was formative for sheila. because it gave him this privileged access to x. rays and. she was primary focus was on composition he left interpretation to other. hands are an

important means of expression and feature prominently in sheila's work but despite countless interpretation attempts their message remains an enigma. perhaps clues to their meaning can be found at vienna's crime museum a place packed with eerie and sinister exhibits and fascinating records of hands that could lead us back to take on sheila. and not just for pleasure what i have here in front of me is what's known as a criminal's album. such albums were put together to document the mug shots of sentence criminals being held in city jails. in. the comedian hands of course have always played a major role in criminal investigations. as hans can have telling markings. based off.

the ten smith for instance will have conspicuous marks on his thumbs from constantly pressing down on the metal. and a cobbler will have marks on the balls of islam from holding a shoe hammer. the so different criteria served as identifying features coleman. hands in various positions feature prominently in these photos really does. and it can't be ruled out that sheila was influenced by this defining feature of criminal record photography full to conservation of momentum. after his father's death sheila moved with his mother to vienna in one thousand nine hundred six to live with his well situated maternal uncle and guardian check. also a railway official you know of his sixteen year old nephew to rent his first studio . his uncle was a member of the m.s.

patrician class with its policies and music. his life style made a lasting impression on. the family agreed to allow a gun to drop out of school and pursue a career as an artist sheila took the entrance examination to the academy of fine arts and passed with distinction in october nine hundred six at the age of sixteen he became its youngest student. she. is too smart and too fast for the academy and very often the teacher would give. long assignments you know of a project that they would have several hours to work on and he would come in at the last minute and do it you know ten fifteen minutes what the other students had been working on for hours. very very quickly.

outgrew the academy and of course his professor creep in carol hated hair for that because he didn't listen he had his eye and. someone who was such an upstart was a bad influence for the other students as well she was frustrated by the academy's conservative ism. he left the school in ninety nine without a diploma and founded the noise all new group with other dissatisfied students. the exhibitions attracted interest among those impressed by the nineteen year olds personal style was good stuff.

belonging to this seemingly trivial and basic watercolor of a new girl is probably one of the most revolutionary works from the start of a great career. painted in one nine hundred ten it's part of the now largely lost series. the subject was sheila's fifteen year old sister getty so he probably had to choose her because he couldn't afford other models. the totally unnatural coloring the bilious green and yellow in the face the blood red stumps that we see here they mark the birth of expressionism. well the artist has dared to defy the law of imitation the subject itself breaks taboos its depiction of the exposed genitals stops at nothing but this is not pornography to be looked at in secret so to speak. so no it's a work of art indeed it's a key piece not only of early austrian expressionism but also of

a gun sheila's entire. so in that example even. today she the exhibitions don't come with signs barring admissions for girls and young women as they did in the us as latest the one nine hundred seventy s. but how is this charged as it is with erotic energy perceived by the public today can modern sensibilities stomach serious sexually explicit work hard to. explain i have no problem with explicit depictions. i think it's good if there's a place in society where such things can be addressed and shown. there is a place for open and sensible discourse. where the full emotional impact of such things can be experienced and confronted. walls.

but there are two things that must be stressed. today we have a different awareness and where the justified requirements of child protection are concerned we must of course be careful what we show. on the other hand artists not only have a right but also a duty to address taboos and invite social discourse and she looks great merit is that along with sigmund freud both incidentally from vienna he brought the sexuality of children in adolescence up out of the subconscious and depicted it for all to see. in one hundred ten she wrote to his friend anton pashka. to leave vienna very soon everyone envies me and conspires against me the city is black and everything follows rules i want to be alone i want to go to the b. he me and forest he was yearning for a place called kumo is the daughter stone shayna referred to it has the devastating and in fact it was. the german population had been expelled and young czechs didn't

want to live in the old town center they'd built new houses on the outskirts. is the town was entirely empty cancer roamed the streets and it was just one house that was fit to serve as accommodation everything else was barricaded there were trees growing from attics the town was dead. i see the dead city as a key painting to understanding all his unreal ideas and thoughts. it appears dream like as if the town were rising up from a river. of course but stead there's no one in it. he repeatedly painted a part of the old town with a bird's eye view from the console not from the tower but from a long passage way from where if you look down you see exactly this part of the tunnel. you can still see almost every building today you can see this house this

house and this house and this long table. painted what he saw but he was shaped it to reflect his own sensibilities. last year from. the town that was called komal back then is modern day cesky chrome loft in the czech republic it was his mother's birthplace which she had often visited with his family as a child. it was those never fading childhood memories that gave him a powerful sense of belonging. she lives landscapes of komal convey that to the viewer. it's clear this is where he wanted to live and work. in kumar how fast it was to everyone in crew malnutrition and his from vienna was coming. back then a criminal had only seven thousand inhabitants and they all thought wow what

a painting to from vienna. and who should turn up but a twenty year old youth accompanied by his girlfriend a beautiful young woman they lived together they were married and friends from vienna also came like his colleague from the academy anton pashka but also artists like me mfon also a very eccentric man but on sundays the group would stroll through croom out to the main square who. i'm foam and i'm hoping it's about him they dressed unconventionally she she laughed parent lee always wore a white suit and a white turret. because they observed people and made loud remarks about passers by which of course didn't go down well with the locals to follow him on that so i imagine that fairly soon they got a brother chilly reception and people hadn't yet seen what he was painting at mouth . was told.

valley north sea was a loyal companion but her relationship with egg on sheila was complicated. though he would later leave her to marry up in society his portraits are testimony to a deeply felt connection. you must be very very noisy correct vyborg annoys. me rally the artist's life companion and his girl friday. what do you mean by that now it depended on the situation and how he was feeling when he needed me i tried to help him.

i was in encourage error and often an overseer i kept an eye on the money to make sure that at least some was left over. and sometimes it was important to protect a gun from himself and i was a gun's favorite model that's helped her stare a teen knows me. and what about love you were a grown schiller's lover for many years love love ego on. be loved by ego and. if understanding someone or accepting them without the need for lots of questions and answers without asking why or what full means love then yes i love de vaughn. i was

simply there for him ego and was single minded against his whole life was one deep feeling of rightness. there was never any decision making for him. he had a mission to fulfill and he came from somewhere or other. from up there oh down there. i come from a very ordinary actually cool circumstances i don't have a school leaving certificate but neither did he go on so they were not a lot of opportunities open to me if i was lucky i didn't have to work just streets i earned my money as a model first with good stuff clint. again i was lucky and never had a baby with him and he recommended me to eagle. and that turned into

a love story between two very different people. and him or her when i gave him oranges which he loved so much he accepted them with that. i was and that was a perfectly natural for him he loved them and they belonged to him. and i was part of a life that he loved so much. that life was shaken by his imprisonment in the town jail after he and valley moved to ny lang but it was a traumatic experience as the agony and angst in the watercolors he completed behind bars show. on april tenth nine hundred twelve on the first day of the

titanic's maiden voyage three policeman knocked on she was still a thirteen year old girl tatyana from morsi had been missing and she had come under suspicion of abducting and seducing the girl as well as disseminating pornographic material the artist was imprisoned pending trial when his case was brought before a judge twenty one days later the first two charges were dropped and she was sentenced to three more days in prison for disseminating pornographic material. for decades the legacy of this episode proved a dilemma for noir langberg a turnaround came in the one nine hundred sixty three with a visit of a young american art student. oh i had to find a large building and it was easy to find because it. was the only imposing building around to see so i did photograph it from the that and you could see the bars on the little windows so it was perfectly clear that there

had to be the building in which she. was so then i went around to the front and. this is it this is the prison so i went right up to the door and there was a and b. i'm through there and i said her whole issue is in the great goodman didn't she didn't he defend nice until. we started to shout exactly oh i'm supposed to speak in english years well he looked at me and he said i'm screwed he said that in a skip to dish to carry your. own but i came all the way from texas this i have a letter here from dr who shot speed the director of be our big dinner. please read it dean i'll be tina director for. the student cause her lucky break when the civil servant left at the stroke of noon

to enjoy a lesser lunch. and what our saw was exactly what she that had drawn the corridor or the limey gray wash along the corridor or the mob who pocket still there. so i took mine where all of works. are and and nervously photographed the corridor really exact same photo as she was cipher then the problem moore's where which one was his cell round i had made an exact and drawing of yourself and on the heavy cell door there were bands of wood and then one of them had drawn what a previous prisoner had cut into the door with his knife he had inscribed his

initials. ha. lily heise is a retired dressmaker and even as a child was aware of noise debates on how to deal with its legacy of a gun sheila a man who had never invited who had put in prison and who came to be regarded as one of the twentieth century's greatest artists. twice a week she sets out in remembrance of the artist to make a simple gesture of remarkable.

in the title of a drawing of his cell he remarked that a single orange was the only light. that remark resonates with me because if you enter the cell now there is nothing matching remind you that he was there.

but the orange reminds us that this was the cell in which she was locked up. that's why i'm happy to do what i do and as long as i can i'll keep bringing in orange hair. she that was badly shaken by his experience of incarceration he attempted to redefine himself and actively sought recognition as a refusal artist in european art circles he was already acknowledged as an exponent of austrian expressionism. what he lacked was an image boosting suggestion abroad you think it is fine and i think it was his serious intention to go to paris you can tell it from his letters in early one nine hundred fourteen you corresponded with several people and stated that he wanted to visit paris it seems he also found someone prepared to give him enough money for a longer stay so he definitely planned to go to paris. that the plan was always had

by the outbreak of the first world war. unlike his expressionist colleague oscar kokoschka who had moved to berlin she remained in austria gustav clim to help get him into the association of austrian artists and she lamented exhibitions but it took more than seventy years before eg i'm sheila and viennese modernism contribution to european cultural history was recognised in france. for preview when the sound would bump into this triumphant temple of modernism opened in one thousand nine hundred seventy seven. large exhibitions were organized to that sought to reassert paris as a major player in european art. these exhibitions were planned by pointers to ten the first director of the central pompidou.

and also they included the series paris new york paris berlin paris moscow. these exhibitions managed to change the public's view of modernism. but afterwards it became clear that something essential had been left out of the new york it was not moscow berlin paris and new york that were important but vienna and the paris club after this realisation home and to fill this oversight with an exhibition of viennese modernism it was staged of vienna without paris vienna independent of paris it spotlighting the uni's culture at the turn of the century because we the french owed so much to this culture including do it on she merely than she yes. in the late one nine hundred twelve sheila rented a studio in the hit single neighborhood of vienna very close to a good stuff to its last studio was the respectable family of the locksmith few

hundred homes lived across the street. sheila married edith the younger of his two daughters in june nine hundred fifteen. is a low spot and i think it was the winter of one thousand nine hundred fourteen i had at once with each sent a little letter inviting us to join him for a movie at the apollo theater. he'd also written that his girlfriend's valley would be coming along so we could feel entirely safe. he said he really wasn't an apache it's not a swat at that was the word he used he was telling us he wasn't a scoundrel is a question of us and what happened then. than happy finishing i fell in love with him.

the end of the. was. it appears you had quite an influence on going sheila and was the lamb and that's after he had to learn that at some time or other an artist must also grow up. in germany there was a publication called the action if it focused solely on expressionist art and its social and political impact in europe it always portrayed the important people those who brought about change for end or at least reveled these at some invests and she's in set in september one thousand nine hundred sixteen they published a special edition of our take on it just him no.

i have you no longer had any time for the sort of games he played before we fought to. have a visit soon neither of us was to have any time for anything for you to help me it's my kind of no time for one another or for life. edith was six months pregnant when she died of the spanish influenza on october twenty eighth nine hundred eighteen gone succumb to the disease three days later just two weeks before the armistice was signed a company and the war is over and i must go these were gone sheila's last words. in many ways echoing she appears as radical

today as he did in his own time because even a century after they were produced his books exude a poet that leaves me with electrified machine as it should be as if then so it's hard to escape shooter his work is so immediate so raw and direct it's an experience that can be described as beyond dark but it's about more than technique there's a spiritual or magical component that transcends what you're seeing on the canvas or drawing on it it's like an encounter with another dimension and it's something entirely different out of that immense you want to do it was for coming.

to. enter the conflict zone fronting the powerful. after thirteen years in a car in some damaging state election results are going to start seeing is visibly waning how long the fellow to. cling on to calm my guess is both gun shy day one of the most for a bust and in for most politicians here in germany conflicts are. thirty minutes. w.

m skill that's the volume or that's hard and in the end this is a me you're not allowed to stay here anymore we will send you back. are you familiar with this. with the smugglers would lie and say. what's your story. on what numbers and women especially of victims of violence. take part and send us your story we are trying always to understand this new culture. another visitor another yes you want to become a citizen. in for migrants your platform for reliable information.

this is d w news live from berlin taking stock in ukraine nearly five years after the my don revolution has the country realize the aspirations of its people to move closer to europe we look back and forward as german chancellor angela merkel holds talks with political leaders in kiev. also coming up a blast from the past a former rival of angela merkel emerges as a front runner in the race to succeed her s.t.d. you party leader we explain why frigid amounts.