Fall 1964 • Vol. XXVI No. 4 Nonfiction |

Two Austrian Expressionists

It was in 1928, when I was a young student, that I first encountered the works of Gustav Klimt and Egon Schiele at memorial shows in the Sezession and Hagenbund galleries of Vienna. I was hardly able to recognize their artistic importance, and I was baffled—as a young man would be—by their uninhibited display of fervent eroticism. From the two shows I remember most vividly one monumental work—the three large paintings by Klimt called "Philosophy," "Medicine," and "Jurisprudence"—that had been intended for the entrance hall of Vienna's university but were rejected by the authorities who noticed in them only the ascending columns of nude men and women. These three immense canvases were not on view at the Pasadena Art Museum's exhibition last year of "Viennese Expressionism: 1910-1924" (the show included works by Klimt and Schiele as well as by Kokoschka), and they won't be seen at the comprehensive Klimt-Schiele exhibition scheduled to open at New York's Guggenheim Museum

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