The HBO show, “Scene of a Marriage,” evokes Schiele’s painting, “The Family.” Both are about the relationship between a man and woman.
why is schiele’s the family so tragic is a painting by Egon Schiele, one of the most famous artists in history. The painting depicts a woman and her children as they sit around a table.
A re-definition of the term “entertainment” is required at some time.
For your viewing enjoyment
It’s difficult to watch “Scenes from a Marriage” on HBO TV since we’re seeing good people in agony due of their competing demands.
There’s no one to blame (although I did find the spouse to be chatty and too touchy, but that’s just me). However, there are no antagonists in this tale.
It’s like witnessing a car accident.
It’s difficult to watch this show since a 10-year relationship is breaking down, and there’s a kid involved. The specific sorrow stems from the fact that disintegration is unavoidable, though not foreseeable.
Inevitability in history
The inevitable split wasn’t as obvious in Ingmar Bergman’s 1973 film “Scenes of a Marriage.” The woman, rather than the husband, is the one who wants out of the marriage in the HBO adaptation.
Mira, the wife, believes the marriage has made her smaller. She is employed. Jonathan, the husband, is a stay-at-home Dad who is in control of everything and is the household’s leader in every manner. As a result, Mira feels diminished when she returns home from work. Again, no one is to blame.
A new-age tale
This is a very 21st-century tale, with married ladies wondering, “Is this all there is?” This is where the inevitability of women’s liberation and all that comes into play.
However, an unintentional forerunner of female dissatisfaction is Egon Schiele’s 1917 picture of the nuclear family, which you could term an unwitting harbinger of female discontent.
It’s titled “The Family,” and it implies that Schiele foresaw feminism before it existed.
Self-portrait with a twist
Schiele placed his family members in a pyramidal shape, with the husband at the summit on a sofa and the woman on the floor looking out sideways into space, when he imagined them naked. His arm is around her.
(Think of Mira.) The woman is holding a kid in her arms, but her arms are limp. She’s in the scene, yet you can tell she’s looking someplace else based on the direction of her gaze.
Consider this description of the work by Schiele’s friend and fellow Expressionist painter Anton Faistauer, which demonstrates how forward-looking this image of a woman wanting out is.
In his 1985 book “The Expressionists,” art historian Wolfe-Dieter Dube mentions him.
In “The Family,” Faistauer discusses the wife’s physique, saying that it is “strongly constructed,” that she is “capable of sustaining life,” and that her “soul stares forth curiously.”
Crouching Couple was Schiele’s initial title for his artwork (Kauerndes Menschenpaar). Surprisingly, he altered the title to The Family since the wife was modeled after Schiele’s former boyfriend, Wally Neuzil.
Mrs. Schiele was, according to history, expecting their first child. She died of Spanish flu in the sixth month of her pregnancy. The kid made it. Schiele died three days later from the same illness.
Isn’t Mira the wife of Nora in Ibsen’s “A Doll House,” published in 1879, a forerunner? While the two are not identical, there are obvious similarities. Each of them wanted to go.
The problems of marriage, according to Bergman, are “the couple’s anguish.” That might be an excellent title for Schiele’s picture of his family.
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The pandemic art history is a painting that was created by Egon Schiele. It depicts the family of Otto and Edith Frank, who were taken into custody by the Nazis in 1942.
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