The artwork titled “Self Portrait as St. Sebastian” is the creation of artist Egon Schiele, dating back to 1914 and executed in Vienna, Austria. This self-portrait, which displays Schiele’s distinct expressionist touch, was rendered using pencil on paper. It stands at dimensions of 32.3 by 48.3 centimeters. The piece is part of the revered expressionism movement and is currently housed within a private collection.
The artwork depicts the artist as St. Sebastian, a Christian saint and martyr, who was frequently represented in art history as being tied to a post or tree and shot with arrows. Egon Schiele’s rendering is notable for its expressive line work and sparse use of detail, elements typical of his expressionist style. The composition primarily consists of sharp, angular lines that contour the figure of the artist, giving an impression of the subject in a dynamic and somewhat contorted pose.
Schiele’s portrayal of himself as St. Sebastian is a dramatic one, with the subject’s body leaning back, arms raised in a gestural manner, as if caught in a moment of agony or ecstasy. The face, tilted upwards, shows a brow slightly furrowed and an expression that combines pain with a poignant resignation. However, the traditional arrows that would be seen in a representation of St. Sebastian are absent from this drawing, leaving the representation metaphorical rather than literal.
The use of line not only defines the form of the figure but also adds a psychological intensity to the portrayal. The quick, sketch-like quality of the pencil lines suggests a certain immediacy and rawness that Schiele is well-known for. Despite the minimalist approach, the figure is rendered with a certain anatomical accuracy, yet it is undeniably stylized, emphasizing the expressive intent over naturalistic depiction.
The piece exudes a sense of vulnerability and dramatic intensity consistent with both the period’s expressionist style and Schiele’s personal artistic motifs. The drawing also reflects the artist’s preoccupation with the themes of suffering and salvation—themes that were recurrent in his body of work. Ultimately, this self-portrait is a striking example of Egon Schiele’s capacity to project deep emotional states through his art, embodying the ideals of the Expressionist movement to which he belonged.
