This entry was originally posted March 1, 2010 at 11:50 am.
Yesterday I was reminded that I had a bunch of these “Way They Were” entries planned and had only followed through on one (Jayne and Mickey). That’s cowardly. I’m going to try to motor through more in the coming months.
“Sitzende Frau mit hochgezogenem Knie”/”Seated woman with bent knee”, 1917.
Although artist Egon Schiele had been separated from Valerie “Wally” Neuzil and married to Edith Harms for two years by the date of this painting, most everyone agrees this is from an earlier study of Wally. It looks too much like her not to be, and he uses the colors that are associated with the Wally work. It’s my favorite work by him. It was on the cover of the Schiele book that my husband, who is a painter, had at our house in Portland, and was the entire reason I found myself opening and reading the book one day. I was interested in Schiele’s work, which is provocative and weird and has many shockingly modern features, all things I like, but, because his life was tragically cut short by disease, his career arc is brief. Coming away from the slim book about his life and art, I felt that his work was dominated by the chief feature of his life, which is to say in a nutshell his time with the real love of his life, which he royally fucked up, and it was the story of that, of Egon’s eventually jacked-beyond-repair relationship with Wally Neuzil that really sucked me in.
“Das Modell Wally Neuzil”/”The model Wally Neuzil.” 1912.
Artist Egon Schiele and his model, Valerie “Wally” Neuzil, were together from 1911 to 1915. He met her in Vienna when she was seventeen and he was twenty-one. Supposedly they were introduced by Gustav Klimt. Supposedly she had been Klimt’s mistress before she got together with Schiele. These things are all conjecture because everyone involved is dead, and they happened before the Great War, which so influenced the German-speaking art world in the years just following it that anything which contributed to or influenced an artist’s work before the War kind of fell by the wayside until later generations resumed their scholarship of turn of the century artists. That’s fair. Such radical changes happened during and after the War that I imagine it seemed crazy, outdated, and irrelevant to really consider too deeply the little emotional outbursts and criminal trials that came before the dramatic political events of the 1910’s and 20’s that literally reshaped the landscape.
“Rothaarige hockende Frau mit grünen Strümpfen (Valerie Neuzil)”/”Crouching figure with green stockings” (Valerie Neuzil).” 1913.
Egon and Wally left Vienna because they considered it too oppressive. They sought an inspirational, romantic, and bucolic lifestyle of freedom in the countryside, moving to Krumia — which also had the more practical benefit of much cheaper rent than Vienna — where, though Schiele’s mother was born there, they were summarily run out of town not too long after for being a little too inspirational, romantic, and bucolic: they’d been using the town’s teenagers as “models”. There’s a Schiele museum there now, so I guess that, like cream cheese, their hearts eventually softened to a spreadable cracker topping. That analogy got out of control in a hurry. It’s almost time for me to grab lunch, sorry.
“Wally in roter Blouse mit erhobenen Knien”/”Wally in red blouse with raised knees.” 1913.
Essentially fleeing the angry mob in Krumia, Egon and Wally moved again, this time north to Nuelengbach, where it was apparently same shit, different day, as they were not there even six months and Schiele was arrested for seducing a minor. Once in custody, they dropped that charge (apparently the young lady changed her tune when the absinthe wore off?) and an abduction charge the parents had insisted be levied originally, and instead tried and found him guilty of displaying inappropriate art in a place where minors could see it. He was released from prison after serving twenty-four days in April 1912 — are you getting the idea of what an awesome prince he was? such the lucky girl, that Wally — and they moved back to the Vienna area.
“Auf einem blauen Polster Liegende mit goldblondem Haar (Wally Neuzil)”/”Reclining female figure with gold blonde hair on a blue pillow (Wally Neuzil).” 1913.
Settled with Wally in Heitzing, a Viennese suburb, Schiele wrote to a friend in early 1915 that he was going to marry one of the Harms sisters, two locksmith’s daughters named Edith and Adele who lived across the street from his studio, for money. I guess running around for three years painting erotic pictures and pissing people off while sleeping with teenagers and doing jail time had not turned out to be the lucrative life of luxury he’d anticipated; the cash flow was getting low, and, despite that he considered Wally his partner and soulmate, marrying for money was Schiele’s timeless solution to their financial woes. He followed through on this, marrying the older of the daughters, Edith, on June 17, 1915, exactly 91 years before my own wedding day.
“Frau in Unterwäsche und Strümpfen (Valerie Neuzil)”/”Woman in underwear and stockings (Valerie Neuzil).” 1913.
A few days after his wedding, Schiele was called to the war, but managed to always serve in Austria, so he was able to continue with his art and stay close to his ties in Vienna. Wally had broken up with him when he told her he was getting married. Schiele wrote to friends expressing shock and grief: he’d actually expected her to understand and stay with him. He wrote a letter to Wally asking her to meet him at a billiards parlor that he liked to go to. There he gave her another letter, proposing that every year they go on an extended holiday, without his wife. She did not write back or respond positively to this. Instead, she left him and never saw him again.
“Frau mit schwarzen Strümpfen – Valerie Neuzil”/”Woman with black stockings – Valerie Neuzel.” 1913.
I was furious when I read this. I still remember sitting in my little house in Portland and my jaw dropping, and my blood boiling, all this anger and resentment simmering in me, directed at people I never met who’d been dead nearly a century, but I couldn’t help it. I hate him for marrying someone else, I hate him and I hate the story of how they were because it reveals that through all that time they spent together, Schiele must have considered Wally lower than him, and though she stood by him , asshole though he could be, he thought her to be the unimportant one, expendable and suppressable, and he literally threw her away like garbage even though she was the best thing that had happened to him; his drawings of her are the best things he did. But that is how some stories are, and I deserve to feel angry because I need to accept that, I have to work through my sadness about the fact that nothing and no one has ever been perfect not even for a day or an hour or a moment, every joyful thing is secretly riddled through with the knowledge that this is so good now because there will be pain later and every lucky penny has a tail side of the coin, and if I have to search my soul and see if there is any gold in the dross of this love story that I in my infantile understanding of human nature found so devastating than I guess I must say that I do love that Schiele really loved Wally in an incredibly broken way, and had that time with her in which there must surely have been good moments.
Photograph of Wally and Egon from the Schiele Museum online.
Schiele died only three years after his breakup with Wally, on Halloween 1918, in an influenza epidemic which had several days earlier killed Edith and their unborn child. He passed away completely unaware that Wally Neuzil had herself succumbed to death from disease around Christmas of the previous year. She’d become a nurse for the Red Cross and, stationed at Split in Dalmatia, she caught scarlet fever from one of her patients and died in the same hospital at which she’d been working for over a year.
edit 7/6/11. Question for discussion: on a large enough timeline, aren’t we and all our petty passions and tragedies truly sound and fury, don’t we signify nothing after all? I want to think not — likely only because of vanity and childish fear of my own meaninglessness — but it seems so true.
Brand Upon The Brain! A Remembrance In 12 Chapters (Guy Maddin, 2006).
I don’t often do this, because I’m not keen when people force me to watch videos and I don’t like inflicting that on others, but here’s the full trailer. It’s only about a minute and a half long and there is boobs.
That’s Isabella Rossellini’s voice repeating “The past, the past,” like a bad French student film (in Maddin’s The Saddest Music in the World, 2003, she played a tragic baroness who has two glass legs filled with beer).
The thing with Maddin is that there is nearly always a point, usually 20 or 30 minutes in, while I’m watching his stuff that I’m like, “Oh, come on,” because I’m over the striking visuals that sucked me in to begin with and I’m beginning to be irked by how it’s become over-the-top or maudlin in its cult precosity, like on-purpose cheesily cult or derivative, and I become uncertain.
Are these overtly contrived, look-how-symbolic-I-am moments and their anachronistic cinematic dialogue part of an abstract ironic technique made to make me question the tropes of arthouse garbage, or is this straight arthouse garbage? So often with other deliberately unusual movies I go with “straight arthouse garbage,” because I get like that due to dramatic over-exposure to pretentious hipsters in my short life (I’m looking at you, Portland), but with Maddin I pull back from that judgmental jump. There’s a third category: (1) parody of overwrought indulgent nonsense, (2) actual overwrought indulgent nonsense, or (3) … something else? better? deeper? more effective?
Because right when I’m supressing the urge to roll my eyes and spoil any avant garde cognescenti cred I have accidentally accrued, suddenly some really great moment will have a huge impact on my emotional experience of watching the film and I’ll be sucked in and by the end just sure it’s my new favorite.
But then the next time I pop it in to show some friend, I’m back to thinking I’ve been duped by either the ultimate sly hipster or a genuine savant who sometimes falls flat, and I’m initially embarassed for us both. But then — TUG — in to it again.
It’s a rapid, repetitive cycle, like an awkward date with your own gynecologist — you both have an idea of what’s going to happen but you don’t know what to expect. Or watching a really close friend fuck the lines to a scene badly in a drama class, but totally sell it with their eyes, and you worry that only you can see that though it looks messy it’s probably headed somewhere amazing. Uncomfortable and anticipatory. That’s Guy Maddin movies for me.
I kind of love him.
Uncomfortable is, well, uncomfortable, yeah, but it’s so often just right because it’s the truth.
Anyway, I recommend Brand on the Brain!, is the upshot.
(All the caps came from the trailer because I do not [yet] own this movie.)
“Just in — corsets. [And remember to] Vote.” (Referring to upcoming election.)
But my favorite is:
“Just in: corsets vote!” (We now live in a truly inclusive democracy.)
1939.
To answer your next question, they vote as independents. They don’t support either of the major two parties’ agendas. Free thinkers, corsets. Not like stockings, those slaves to the Man (eye roll). Tiresome parrots of right-wing media outlets, them.
“Field-side Microwave” by say.today on the flickr.
Okay, right out of the gate I need to say that I’m one of those ignorant paranoiac luddites who’s still not totally convinced that microwaves are safe. So I am biased against them to begin with. (Please do not explain the science of their safety to me because I am unreasonable and stubborn and it would waste both our time for you to patiently demonstrate how they will not make us sterile or slowly irradiate our children.) I also prefer to make food in the oven because it comes out better. Anyone who has microwaved fries instead of sticking them under the broiler knows where I’m coming from.
I use the microwave for two things: popping corn and heating tea. The popcorn because it is a light snack that I do not have to slave over a pot and nervously try to capture it before it is flung all over the stovetop, and the tea because my beautiful teapot is in Portland.The microwave in the kitchen here has a “popcorn” button with which I’ve been experimenting with fairly good results. It also has a bunch of other preset buttons which I can never see myself using, such as for thawing meat, which the microwave is the last place I would be willing to do that.
As I was heating tea around five minutes ago, I observed that, of course, there was no make-a-beverage-hot-but-not-scalding-setting. I made a “pfft!” noise as I watched the cup slowly spin from a safe distance, and I thought with disdain that any microwave which has automatic settings for all this other happy crap but no button for tea clearly knows nothing about me.
Then I thought, Why do I want the microwave to know things about me?
“Granddad’s Microwave” via funkjunkie on the tumblr.
The situation could be worse. When we moved Paolo and Miss D in to their present C-town domicile, the kitchen came complete with a vintage microwave that had a stunning array of preset suggestions. They started reasonably enough — settings for thawing meat and defrosting vegetables, then moving in to common entrees — but quickly progressed to some really obscure menu suggestions. The most shocking and thought-provoking one for me was, I shit you not, swordfish l’orange.
The saddest cookbook you’ll ever see.
Swordfish l’orange: wow. Like, first of all, I would have never thought to prepare swordfish in that fashion — I’ve never prepared swordfish at all, actually, but I feel that l’orange would not be my “go-to” style — but more importantly, if someone, somewhere, actually took a notion to cook the dish in the first place, why would you do it in the microwave? On what planet is swordfish l’orange so in demand as a dish that you whip it up in the microwave like it is a freaking Lean Pocket? It truly boggled my mind.
My Aunt Harriet had a microwave in the eighties which talked and her magnificent neighbor’s no-good son who is dead now totally stole it one morning, but all of that’s a story for a different day. I got quite a few microwave stories, and they’re all pretty good. One involves both toplessness and fire (I live dangerously). I’m not sure if I have enough anecdotes to make it a regular feature, but I’ll think about it.
To say that there are no hipsters in Portland is like saying there were no hippies in San Francisco, no punks in New York. The problem with hipsters is their lack of purpose and ideas. They are not the angry young men and women of counter-culture past, they are leaches of culture. Being a hipster is the opposite of a movement; it’s a crawl toward death. Like an unconscious addict, of course no one admits to being one.
First off, there is no such thing as a hipster. It’s a lazy stereotype. Blaming hipsters for ruining your favorite bar, your favorite band, and your favorite city is akin to blaming Santa Claus for ruining Christmas. Secondly, stop complaining, it makes you seem more out of touch than you really are.
I used to read it all the time, but hipsters have totally ruined the Mercury. Nyuck, nyuck.
For myself, I would rather be “out of touch” than wear a hanky turned like I have just robbed a train and jeans that cut off the circulation to my thighs and lovely ass. Also it has not quite been long enough since their initial time of ironic popularity to once more sport a trucker hat as a sneering referential fashion nod to an original sneering referential fashion nod. Only Judah Friedlander on 30 Rock gets a pass. And when a musician that I like begins to find wider success, I am happy for that individual, not full of embittered proclamations that he or she has “sold out.” Hipsters: it is okay to like something without it being ironic or edgy. Don’t front like you don’t like Jamba Juice and family reunions — you don’t have to make out like they are kitschy or retro to explain that you enjoy them, because it is okay to like Jamba Juice and family reunions and put the period right there.
Also, I know you love you some Pabst Blue Ribbon but I need to say that once, my husband and I bought an actual 12-pack in bottles of PBR, and when we unloaded them in to the fridge we noticed that despite being sealed each bottle was filled to a different level. Some sat at varying levels up the neck, one was only filled directly to the neck, and the weirdest one was literally all the way to the bottlecap. How is that even possible? Don’t machines in a factory do the bottling, and, if so, why would each be filled differently? Is the machine that poorly operated, or is it that old or sunk that deeply in to disrepair? What the what? There is probably lead shavings and rat shit and who else knows what all in Pabst if there is that bizzarely low level of quality control. Please do consider it and think about making Natty Ice or Keystone the new trendy and appropriately cheesey cheap beer? Probably safer bets.
P.S.: Cute hipster boys? Please eat a sandwich cause from behind I thought you were a woman, and I’m not sleeping with someone who could slip down the shower drain.
To be triple-dog clear: the hipster Batman graffiti photos are taken in San Francisco, California. The hipster debate comes from an independent weekly newspaper in Portland, Oregon.
I know it’s weird with us all in estrangement and the like, but the important thing I want you to remember is the time we went to Lucy’s Table and that one waitress who later opened a meditative health center with her husband dropped the champagne as she popped the cork and it spun in the air as it fell and it hosed down THE ENTIRE RESTAURANT in a ten foot radius and the windows and tables and all those third-wave anorexic hipster yippies were dripping with wine. We did that.
Then we went to sit outside with our dessert and that very nice but drunk as shit first-wave yippie lady told us about walking around naked in front of her son when he was young, and then she apologized to us at great length for her generation being poor stewards of the earth and they misspelled “Congratulations” in some kind of very expensive alcohol-and-caramel-dulce-de-leche reduction sauce on your flourless chocolate cake plate.
Sometimes I forget that through no deliberate actions of your own you are somehow elected by the forces in this universe to be a one-man wrecking-crew of every situation you enter. Thank you for being a genial agent of chaos akin to Pigpen, because the anxious uptight energy of my yin at that time deserved and needed that yang to grow and see that what we must always try to do in this world is to stop time and bring back what’s died and it is not a thing we can do alone.
The awesome underground comic genius and supafly beanpole hottie R. Crumb poses in the ’70’s with a wall liberated by some of his creations. You might understand the artistic admiration yet still be asking “Realistically, you picked R. Crumb as a ‘Hot’ Man Bein’ Hot of the Day? Up against former category-entrants like Viggo Mortensen, James Dean, and Sean Bean, doesn’t that seem like a stretch?” Okay — NO.
For one thing, I mainly do not discriminate against body type in either direction (except for manorexics in girls’ skinny jeans: you may go take sepia pictures of yourself with knives at your wrists and then write in your livejournal about how mean ol’ E made fun of you). Because for the second and more important thing, hotness does come from within. It is a complex mix of partly physical characteristics that ring your bell but more resonantly it is a response to personality, charisma, mental agility, and weird energy, and yes it can be partially deduced from a photograph, interview, quote, or film clip. (Hence celebrity crushes are sane — ish.)
With wife Aline Kominsky, who actually postdates his character Honeybunch Kominski and is an awesome comix artist in her own right.
That mix: does it mesh with your unique mix? Are you drawn to it? Do you fall in to genre-based-romance and like the class clown, the bad boy, or the quiet type? Do you not care about any of that if the guy smells like a certain brand of shampoo or has a particular timbre to his speaking voice?
It’s not physical so much as something in the eyes, the face, the click, the smell, the deeds and words that make up what a person really is on a plane beneath the physical. That’s why judging hotness results in different outcomes for everyone. And for me personally, R. Crumb’s type of crazy is blazing hot.
Almost bought Crumb’s Book of Genesis in Arcata with Katohs this April, but I changed my mind at the last minute, instead opting to blow all my liquid assets on plates of cheese, to which I am basically allergic, and overpriced vintage records even though both my record players are in Portland — please excuse me while I blow ya mind with my mad rad cash-management skills.
It is 100% a possibly true fact that I am a genius with money, and I encourage you all to attend my smash-hit traveling financial and motivational seminar, “Just Kidding, I’m Broke — Will You Buy Me Potato Skins? No? Split A Cheese Plate, then?” when I come soon to a town near you!
Girls like a boy who reads … his own comics.
Final Thought: Eat spaghetti. Don’t you want to be like Sophia Loren and R. Crumb? What are you waiting for? A sweet rack and emotional relaxation are just a pot of boiling water and a jar of tomato sauce away. Through away that ass-nasty rice cake or low-carb yogurt and welcome back to loving life! You’re welcome.
One Flew Over the Cuckoo’s Nest (Miloš Forman, 1975).
I wrote quite a while ago about how I had always responded very strongly to this movie, well before reading the book, but I recently rewatched it after having gone through the excruciating experience of being impelled to read the book all of a night in September (thanks to a loan from Jonohs), and it reminded me I’ve been collecting screencaps which I’d like to share.
Actually I have dozens more of these, but I think in this edition I want to keep the focus mainly on the question of Mac’s mental state and the conflict between McMurphy and Nurse Ratched.
“In one week, I can put a bug so far up her ass, she won’t know whether to shit or wind her wristwatch.”
(I’m pretty sure that all of these particular caps are via One Day, One Movie on the tumblr.)
Did You Know? One Flew Over the Cuckoo’s Nest was filmed on location at the State Mental Hospital in scenic Salem, Oregon. I’m not familiar with that particular monkeyhouse, but Ken Kesey was: he based the 1962 book, from which the movie was adapted, on his experiences working as an orderly there, during which time he participated in a study where he was given, among other hallucinogenic compounds, a friendly little fuckstorm of LSD and peyote. Yummy! Your tax dollars at work!
Nurse Ratched: If Mr. McMurphy doesn’t want to take his medication orally, I’m sure we can arrange that he can have it some other way. But I don’t think that he would like it.
McMurphy: [to Harding] You’d like it, wouldn’t you? Here, give it to me.
“Is that crazy enough for you? You want me to take a shit on the floor?”
“Hey, baby, where you from?” “I am from 1234 Asylum Street, Room 22.”
The original Oregon State Hospital for the Insane was established by J.C. Hawthorne in what was then East Portland, Oregon, (now the Hawthorne District). It was built in 1862, and the street on which it was built was renamed Asylum Street. Local residents protested about the name, however, and it was renamed Hawthorne after the hospital’s founder in 1888.
The street in Salem on which the current hospital is located, Center Street, was also originally named Asylum Avenue.
Heartwarming. I used to live very close to Hawthorne in Portland. Between you and me, the name change was unnecessary. There is just as much a cacophony of poverty, despair, madcap high spirits, compassionately helpless onlookers, and emotionless venture capitalists as the name “Asylum Street” suggests. An intersection of mixed purposes and emotions.
Droppin’ c-bombs. That Mac!
“Now they’re telling me I’m crazy because I don’t sit there like a goddamn vegetable. Doesn’t make a bit of sense to me. If that’s what being crazy is, then I’m senseless, out of it, gone-down-the-road, whacko — no more, no less, that’s it.”
I have basically scene by scene screencaps but I’ve always felt really strongly about this movie and I’m committed to hoping that everyone goes and watches it for themselves. No spoilers today.
The main difference between the [film and the book] is that the novel is narrated by Chief Bromden, and the reader knows straight away that he [no spoilers].
This was a major source of controversy in developing the screenplay, and eventually the reason why the author, Ken Kesey, was not the final writer. He felt as though the narration of a schizophrenic was an important aspect of the novel, because it produced a hallucinogenic perspective where the reader/viewer is not always sure exactly what is true. (the wiki)
That was my only criticism to Jonohs, I believe, when we discussed the differences between the book and its film adaptation, so now I’m feeling pretty unoriginal.
Yesterday I was reminded that I had a bunch of these “Way They Were” entries planned and had only followed through on one (Jayne and Mickey). That’s cowardly. I’m going to try to motor through more in the coming months.
“Sitzende Frau mit hochgezogenem Knie”/”Seated woman with bent knee”, 1917.
Although artist Egon Schiele had been separated from Valerie “Wally” Neuzil and married to Edith Harms for two years by the date of this painting, most everyone agrees this is from an earlier study of Wally. It looks too much like her not to be, and he uses the colors that are associated with the Wally work. It’s my favorite work by him. It was on the cover of the Schiele book that my husband, who is a painter, had at our house in Portland, and was the entire reason I found myself opening and reading the book one day. I was interested in Schiele’s work, which is provocative and weird and has many shockingly modern features, all things I like, but, because his life was tragically cut short by disease, his career arc is brief. Coming away from the slim book about his life and art, I felt that his work was dominated by the chief feature of his life, which is to say in a nutshell his time with the real love of his life, which he royally fucked up, and it was the story of that, of Egon’s eventually jacked-beyond-repair relationship with Wally Neuzil that really sucked me in.
“Das Modell Wally Neuzil”/”The model Wally Neuzil.” 1912.
Artist Egon Schiele and his model, Valerie “Wally” Neuzil, were together from 1911 to 1915. He met her in Vienna when she was seventeen and he was twenty-one. Supposedly they were introduced by Gustav Klimt. Supposedly she had been Klimt’s mistress before she got together with Schiele. These things are all conjecture because everyone involved is dead, and they happened before the Great War, which so influenced the German-speaking art world in the years just following it that anything which contributed to or influenced an artist’s work before the War kind of fell by the wayside until later generations resumed their scholarship of turn of the century artists. That’s fair. Such radical changes happened during and after the War that I imagine it seemed crazy, outdated, and irrelevant to really consider too deeply the little emotional outbursts and criminal trials that came before the dramatic political events of the 1910’s and 20’s that literally reshaped the landscape.
“Rothaarige hockende Frau mit grünen Strümpfen (Valerie Neuzil)”/”Crouching figure with green stockings” (Valerie Neuzil).” 1913.
Egon and Wally left Vienna because they considered it too oppressive. They sought an inspirational, romantic, and bucolic lifestyle of freedom in the countryside, moving to Krumia — which also had the more practical benefit of much cheaper rent than Vienna — where, though Schiele’s mother was born there, they were summarily run out of town not too long after for being a little too inspirational, romantic, and bucolic: they’d been using the town’s teenagers as “models”. There’s a Schiele museum there now, so I guess that, like cream cheese, their hearts eventually softened to a spreadable cracker topping. That analogy got out of control in a hurry. It’s almost time for me to grab lunch, sorry.
“Wally in roter Blouse mit erhobenen Knien”/”Wally in red blouse with raised knees.” 1913.
Essentially fleeing the angry mob in Krumia, Egon and Wally moved again, this time north to Nuelengbach, where it was apparently same shit, different day, as they were not there even six months and Schiele was arrested for seducing a minor. Once in custody, they dropped that charge (apparently the young lady changed her tune when the absinthe wore off?) and an abduction charge the parents had insisted be levied originally, and instead tried and found him guilty of displaying inappropriate art in a place where minors could see it. He was released from prison after serving twenty-four days in April 1912 — are you getting the idea of what an awesome prince he was? such the lucky girl, that Wally — and they moved back to the Vienna area.
“Auf einem blauen Polster Liegende mit goldblondem Haar (Wally Neuzil)”/”Reclining female figure with gold blonde hair on a blue pillow (Wally Neuzil).” 1913.
Settled with Wally in Heitzing, a Viennese suburb, Schiele wrote to a friend in early 1915 that he was going to marry one of the Harms sisters, two locksmith’s daughters named Edith and Adele who lived across the street from his studio, for money. I guess running around for three years painting erotic pictures and pissing people off while sleeping with teenagers and doing jail time had not turned out to be the lucrative life of luxury he’d anticipated; the cash flow was getting low, and, despite that he considered Wally his partner and soulmate, marrying for money was Schiele’s timeless solution to their financial woes. He followed through on this, marrying the older of the daughters, Edith, on June 17, 1915, exactly 91 years before my own wedding day.
“Frau in Unterwäsche und Strümpfen (Valerie Neuzil)”/”Woman in underwear and stockings (Valerie Neuzil).” 1913.
A few days after his wedding, Schiele was called to the war, but managed to always serve in Austria, so he was able to continue with his art and stay close to his ties in Vienna. Wally had broken up with him when he told her he was getting married. Schiele wrote to friends expressing shock and grief: he’d actually expected her to understand and stay with him. He wrote a letter to Wally asking her to meet him at a billiards parlor that he liked to go to. There he gave her another letter, proposing that every year they go on an extended holiday, without his wife. She did not write back or respond positively to this. Instead, she left him and never saw him again.
“Frau mit schwarzen Strümpfen – Valerie Neuzil”/”Woman with black stockings – Valerie Neuzel.” 1913.
I was furious when I read this. I still remember sitting in my little house in Portland and my jaw dropping, and my blood boiling, all this anger and resentment simmering in me, directed at people I never met who’d been dead nearly a century, but I couldn’t help it. I hate him for marrying someone else, I hate him and I hate the story of how they were because it reveals that through all that time they spent together, Schiele must have considered Wally lower than him, and though she stood by him , asshole though he could be, he thought her to be the unimportant one, expendable and suppressable, and he literally threw her away like garbage even though she was the best thing that had happened to him; his drawings of her are the best things he did. But that is how some stories are, and I deserve to feel angry because I need to accept that, I have to work through my sadness about the fact that nothing and no one has ever been perfect not even for a day or an hour or a moment, every joyful thing is secretly riddled through with the knowledge that this is so good now because there will be pain later and every lucky penny has a tail side of the coin, and if I have to search my soul and see if there is any gold in the dross of this love story that I in my infantile understanding of human nature found so devastating than I guess I must say that I do love that Schiele really loved Wally in an incredibly broken way, and had that time with her in which there must surely have been good moments.
Photograph of Wally and Egon from the Schiele Museum online.
Schiele died only three years after his breakup with Wally, on Halloween 1918, in an influenza epidemic which had several days earlier killed Edith and their unborn child. He passed away completely unaware that Wally Neuzil had herself succumbed to death from disease around Christmas of the previous year. She’d become a nurse for the Red Cross and, stationed at Split in Dalmatia, she caught scarlet fever from one of her patients and died in the same hospital at which she’d been working for over a year.
I feel like I should mention I’ve been putting these up out of sequence so I don’t totally spoil the plot for you. Don’t forget to add Sam’s Cowboy Kate and Other Stories, the Director’s Cut to your Christmas wish list. You can get it from Powell’s Books, Amazon, or get on a mailing list with Dashwood to see when they get another copy.
Interesting day on my hands, lots of irons in the fire, pleasure and business both to be tended to. Picking out flowers with Miss D now that some of the wedding details are settled down a bit, have to go to DMV later to register my car and get Californny plates now that Oregon is looking to be forever and firmly in the past (stomach lurch, eye twitch; ah, psychosoma, how I’ve missed you! but not). However, whatever happiness, anxieties, and mix therein the day brings me, I have the comfort of knowing it’s started out right: with an accordion.
I dropped kidlet off for kindergarten to find a little concert going on, complete with a bucket for change (seriously, could we please get a better budget for education in this country; we are teaching our children to busk for their hot lunches at this point) sitting at the feet of the smallest ones. They were playing “Hot Cross Buns” and I’m not afraid to say it, they seriously picked up some funk in there. Thanks, chitlins!
The Thought Experiment 