APURBA CHATTERJEE explains how British artists in India used the “picturesque” to reshape colonial landscapes and celebrate imperial power
Still breaking boundaries
Egon Schiele may have died a century ago but his provocative depictions of human vulnerability continue to fascinate and disturb, says CHRISTINE LINDEY
Egon Schiele, The Cellist, 1910
PAUL DONOVAN welcomes a revival of Reginald Rose’s classic play that reminds us of the fundamental need for trials with juries
SIMON PARSONS applauds an exceptional performance of Wesker’s little-known play, by the same actor for whom it was written 45 years ago
ANDY HEDGECOCK and MARIA DUARTE review Late Fame, The Death of Robin Hood, Leviticus, and Gail Daughtry and the Celebrity Sex Pass
ANGUS REID recommends a uniquely accomplished documentary collage that contemplates our relation to the natural world
GORDON PARSONS enjoys Kant’s ‘mind-boggling’ theory of human reality: that we create the reality we experience
PRECOCIOUS, fiercely ambitious and armed with a remarkable talent for drawing, Egon Schiele (1890-1918) achieved early critical success, lived fast and died young.
Son of the station master of the Austrian town of Tulln, Schiele was accepted two years early by Vienna’s most prestigious art academy, aged just 16. He participated in his first group exhibition two years later and had an enthusiastic following by 1909.
Similar stories
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist