were often nudes of minors in crude poses, including many self-portraits. The intense colors, chopped limbs, and disjointed space in his works resembled the style of Munch, but in SchieleÆs works we are presented with the expression rather than the representation of frustrated but honestly crude sexuality. His works, like MunchÆs, often convey the frustration of emotions, feelings, and individual expression in an impersonal and indifferent universe. Both of these artistÆs works attempt to express internal emotions and feelings that seem to risk causing their subjectÆs a nervous breakdown if they must be repressed. As Resnik (2000) suggests, in a sentiment that could easily be applied to any number of MunchÆs paintings, including The Scream, SchieleÆs works demonstrate the ôenigmatic mannerisms which recall those of autistic children and schizophrenic patientsö (122).
In SchieleÆs self-portraits we clearly see these qualities as well as his crude but honest depiction of the physical body. Karen Wilkin (1997) maintains that in many of SchieleÆs nudes and self-portraits there is a deliberate crudity in the expressions but also a style and technique that demonstrate the artist is an inherent part of the work. WilkinÆs (1997) suggest that in his nudes and self-portraits, Schiele provides us with an ôuncouthlyö close viewpoint, cropping that is ôaggressiveö, and a ôfrank displayö of his subjects in order to highlight both the facsimile nature of his work but also his presence, ôBrutalizing detailsùhairy armpits, knobby knees, jutting hops, genitals rendered more precisely than facial featuresùcounteract the mannerism of SchieleÆs drawing style and remind us, once again, of the real, uncompromising scrutiny that underlies these deliberately rude w
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