This large-scale painting was created in the spring of 1914 and was shortly thereafter selected by the jury of the Munich Secession for their annual summer exhibition. Contrary to his icon-like panel paintings of earlier years, such as
Dead Mother I, 1910, or
Mother and Child, 1912, Egon Schiele (1890–1918) here stages the mother and her children as full-length figures. What remains unchanged, however, is the dominating sensation of anguish. The sightless, breastfeeding nude encloses her children in a block-like formation, her bent legs spread wide and her upper body leaning forward. The unusual body posture of the mother in Schiele’s work was inspired by Auguste Rodin’s (1840–1917) sculpture
Crouching Woman, dating from 1880/82 and meant to represent a lost soul as a caryatid in his
Gates of Hell. But Rodin’s bronze representation of vulnerability is transferred by Schiele into a geometric and tectonic depiction which follows the horizontal format of the landscape and eliminates any expression of tenderness and feeling in the body. The pale block of the body stands out from the surrounding space, rendered in earthy colors and amorphous facets. Only the stylized cradle in the background – which already entails the association of a coffin – resumes the orthogonal structure of the Cubist body. Schiele transforms the nourishing, protective notion of the mother into a dark distortion.
VG, 2022