Procession 1911

Editor: Here we have Egon Schiele's "Procession," created in 1911 using oil paint. There's something very somber about this piece, almost haunting. What do you see in it? Curator: What immediately strikes me is how Schiele situates these figures, seemingly portraits, within this almost geological landscape. Are these characters being birthed from or buried by the earth? Schiele was deeply engaged with questions of mortality and societal decay. Think about Vienna at this time – the Habsburg Empire crumbling, anxieties around sexuality, class tensions boiling. Editor: So the 'procession' isn't necessarily a celebration or a journey forward? Curator: Precisely. The term "procession" is deliberately provocative. Schiele is inviting us to question the very notion of progress. Who is included in this procession? Who is excluded? Notice the use of the earthy tones - browns and oranges and grays. Consider the symbolic weight of such somber coloring when discussing social and political turmoil. Are these figures victims or perpetrators within this societal landscape? Editor: The one figure’s closed eyes do imply passivity or perhaps even death. What about the other one with very wide and almost scared eyes? Curator: A scream captured mid-expression perhaps? Given Schiele's history of challenging societal norms and portraying uncomfortable truths about human psychology, could this be a commentary on the performative nature of societal rituals and how people conform under pressure, perhaps echoing concerns raised by thinkers like Nietzsche regarding moral hypocrisy? Editor: It definitely makes me see it as less about a journey and more about confronting difficult societal realities. Thank you! Curator: My pleasure. Seeing art through such an intersectional lens allows us to understand the intricate dance between artistic expression, social context, and individual agency.