placing a backlash from within her own party may says it is the best deal the country can get from the e.u. and that the judge will think plunged into uncertainty if the draft is a ban. ok. thank you for watching the news terry martin will have an update on your headlines at the top the hour. the. letter we were. when we were. eighty percent of americans at some point in our lives will experience hardship. listening. to. you.

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don't seek us don't have flaws they can sheely a key quote by a going shooter 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 aseem 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 introspection or returned to one's inner self. is a self critical modernism to take them down and it was this return to the self they gave modernist viennese art a power and an appeal that other art movements were lacking. peacefully perk in

three songs. the real part museum in vienna houses the world's most comprehensive collection of works by a gang see that. the old collective would of loop began acquiring the oil paintings washes was a color as i'm 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 a huge one thousand things he said right from the start that he was a great artist who was not appreciated. that back in the one nine hundred fifty s. no one gave she ever 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 sets the standards 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 he said she was 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 his flowers nudes and landscapes all in the

same way always with the same empathy and devotion or. 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 peter isn't a platitude. 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 did. you find the right. words.

for me it was an army emotional encounter with a gun sheila's work is due not only to the delight i take of his incredible virtuosity as an artist but also an encounter and a confrontation with myself just. in. legend has it that 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 go on sheila is jane cally 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 bend it and move it distorted and make it tell a story and i think sheila 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 is never been the case but there are specters that are brought forth by longing and i have painted specters not because i enjoyed it i just have to. memories of it on sheila's childhood in his first place the austrian town of turin on the dunny and. heavy steam trains shook the sheila family home by brace and could be seen and felt in the apartment. and trains with the subject of young

a guns first drawings. his father 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 he shifted he says he did see this year that those one very revealing story is were having noticed how his son spent all his time drawing it off she loved one in 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. evidently thought this would give him a few weeks peace. he gave a go on 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 grandfather 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 it otherwise would have taken his cue from his son and realized that what he was offering in terms of fostering a dance talent was nowhere near enough. by all appearances the family led a comfortable middle class life. with 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 live 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 getty and getting. i was born here in one thousand nine hundred forty one billion i'm a guns youngest sister. and that's where he slept of over there in the corner on the other side is melanie's but she was that elder sister you lived here for many years what memories do you still have feelings have to start before so much happened here but i can't remember it all

they say you and your brother and sister had a very comfortable life here the soviets shined things on to always what they seem . whenever we went out we were different in here a lot of things happened my father. his decease. we didn't really understand what was happening last perhaps melanie knew more do you want to tell us about it. yes you so often that stove over there. we children must already have been asleep when suddenly we heard loud noises coming from our parents' bedroom where they are going. to keep 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 man he lit a fire i heard him opening the stove door and be off then i got out yeah it was the middle of the night five my father was burning stacks of paper i didn't know what exactly was upon his people i only found out later that he burned all of our shareholdings. the glow from the fire fell on his face to. face those eyes the illuminated face of a father who had gone mad and so it was like to give autumn 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 was shown that look at a glance work. that was his way of talking about it. art historians spend a lot of time trying to decode she lives often in a massive and allegorical iconography. that 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 work on display here is reminiscent of sheila and i are those women of. the life you lead 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 was sent to a new school in close to annoy book in one thousand know to at the age of twelve you know only spend the weekends with his family into a. but he continued to struggle at school and had to repeat a great for the second time. in the years nineteen zero four and nine hundred five a going live with the hosts next family. their 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. 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 others hands are an important means of expression and featured 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 a gun sheila. the place 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.

hands of course have always played a major role in criminal investigations. as hans can have telling markings. and rationale for. the tense math 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 me. the so different criteria served as identifying features common. 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 feel 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 he allowed his sixteen year old nephew to rent his first studio . his uncle was a member of the n.s.a. 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. weighs 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 in you know ten fifteen minutes what the other student had been working on for hours. very very quickly. outgrew the academy and of course his professor creep in carol hated air for that because he didn't listen he had his own ma and 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. there exhibitions attracted interest among those impressed by the nineteen year

old's personal style was cool stuff. 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 lots of that scene painted in one thousand ten it's part of the now largely lost series for the us the subject was sheila's fifteen year old sister getty dollars so he probably had to choose her because he couldn't afford other models. he's nice and called the thirty something of the totally unnatural coloring the billy is green and yellow in the face the blood red stumps that we see here they mark the birth of expressionism and he smiles. 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 sort of speak. so no it's a work of art indeed it's a key piece not only of early austrian expressionism but also of aidan 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 not charged as it is with erotic energy to sieved by the public today can modern sensibilities stomach sealants sexually explicit work hard to. explain 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. a place for open and sensible discourse. where the full emotional impact of such

things can be experienced and confronted. 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 was 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 lived wrote to his friend. and 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 como is the doctor sheena referred to it has the dead city 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 cats roam 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 is a key painting to understanding all his unreality is in thoughts. it appears dreamlike as if the town were rising up from a river. but it's dead 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 in this house and this long gable she painted what he saw but he was shaped it to reflect his own sensibilities. and ask you for. the tell 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 kumar convey that to the viewer. it's clear this is where he wanted to live and work. in kumar how fast ali. everyone in crewe malnutrition and his from vienna was

coming. back then a criminal had only seven thousand inhabitants and they all thought wow what a painter from vienna. and who should turn up but a twenty year old youth accompanied by his girlfriend a beautiful young woman for whom they lived together they were married and friends from vienna also came like his colleagues from the academy anton peshitta but also artists like me mfon alston a very eccentric man but on sundays the group would stroll through crewe mount to the main square who. form and i hope it's about him they dressed unconventionally she loved parent we always wore a white suit and a white turnout. because they observed people and made loud remarks about passers by which of course didn't go down well with the locals. so i imagine that fairly soon they got

a brother chilly reception. and people hadn't yet seen what he was painting. world. her valley north sea was a loyal companion bus her relationship with a gone she that 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 vonnie the artist's life companion and his girl friday. what do you mean by that and that it depended on the situation and how he was

feeling when he needed me i tried to help him. i was an encourager 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 guns favorite model that's how posterity knows me. and what about love you were a going chillers lover for many years love love ego on. be loved by egon. 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 dave on one. i was simply there for him it was single minded thing and 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 post circumstances i don't have a school leaving certificate but neither did he go on he said there were not a lot of opportunities open to me i was lucky i didn't have to work just streets i

and 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 egon 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 and. i was and that was a perfectly natural for him and 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 one thousand nine hundred twelve on the first day of the titanic's maiden voyage three police the knocked on sheila's door. a thirteen year old girl tatyana from music 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 noise. a turnaround came in nine hundred sixty three with the visit of a young american art student. oh i had to find a large building and it was easy to find because security was the only imposing building around to see so i did photograph it from of there and

you could see the bars on the little windows so it was perfectly clear that that had to be the building in which she called the door was so and 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 and they i'm sure there and i said whole issue. he's a goodman didn't she didn't die in tennis until we started to shout with dr oh i'm supposed to speak in english yes well he looked at me and he said i didn't scream and he said that in a skit dish to carry do your. own but i came all the way from texas. i have a letter here from dr who shot skeet the director of the i'll be tina. 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 news to enjoy a leisure lunch. and what our saw was exactly what she 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 us. are to have and nervously photographed the corridor or really exact same photo as she was cipher then of a problem wars where which one was his cell where hitler had made an exacting drawing of

a cell 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 magic 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 lived 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 left was an image boosting suggestion abroad you think of the spanish i think it was his serious intention to go to paris you can tell it from his letters in early one nine hundred fourteen he 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 plan was hosted by the outbreak of the first world war. unlike his expressionist colleague oscar kokoschka who had moved to berlin she remained in austria good stuff claim to help get him into the association of austrian artists and she lamented exhibitions but it took more than seventy years before it got sheila and viennese modernism contribution to european cultural history was recognised in france. last. preview when the songs were pompidou this triumphant temple of modernism opened in one thousand nine hundred seventy seven. large exhibitions were organized that sought to reassert paris as a major player in european art or. these exhibitions were

planned by pointers to ten the first director of the central pumper do. it all so they included the series paris new york paris berlin paris moscow. the more of these exhibitions managed to change the public's view of modernism. but afterward to became clear that something essential had been left out of the real it was not moscow berlin paris and new york that were important but vienna and the paris club after this realization home and to fill this oversight with an exhibition of viennese modernism was staged of vienna with paris vienna independent of paris it spotlighting the unease culture at the turn of the century because we the french owed so much to this culture including do it on cheaper than she did 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. she lim married edith the younger of his two daughters in june nine hundred fifteen. is the low spot in 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. also written that his girlfriend 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 it was

a question of us and what happened then. damn happy to mission i fell in love with him. they are. our. poll as. it appears you had quite an influence on going sheila and was the man and that's after he had to learn that at some time or other an artist must also grow up in the i can germany there was a publication called the action. 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 invest

ashtrays in set in september one thousand nine hundred sixteen they published a special edition about a gun just him you and. i have you no longer had any time for the sort of games he played before we fought like. a visitor sooner neither of us was to have any time for anything fear or hope meets man kind of no time for one another all 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 campian 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 works exude a palate that leaves us electrified the shell is history as if they say it's hard to escape shita and 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 something entirely different on agreements on that it was four kilometers.

long. nothing is quite as it seems at hamburg's museum of the. exhibits challenge up deception. and. one look at the. engine won't if your highness.

your robot. thirteen expired. w. . o. . they are digital more years. for women for internet activists one mission the battle for freedom and dignity. against repression and violence really deployed the powers of social media. their messages are spreading like wildfire social media for the hope is critical to the boat and thousands of others can call hamas. on the streets the women who are changing the moral dimension of. digital.

stores going to twenty fifth on t w. business t w news coming to you live from berlin a course in cambodia makes a historic ruling forty years after their crimes were committed to leaders of the brutal khmer rouge are found guilty of genocide two men were on trial in connection with the deaths of nearly two million people during the regime's reign of terror in the one nine hundred seventy s. . britain faces another day of turmoil as prime minister theresa may steps up

efforts to defend her controversial breaks it deal for with members of her own party calling for her to quit.