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Portrait of the Dying Edith Schiele, by Egon Schiele, 1918. Wikimedia Commons. Let’s begin with Egon Schiele’s elbows: the Austrian artist’s swollen left elbow bent over his head in a gesture of support, the right drawn across his face, almost directly under his nose. Here, in his 1910 painting Seated Male Nude (Self-Portrait), rendered in muddy browns and sickly yellows, Schiele’s limbs look withered, his joints too pronounced. His elbows frame his face, drawing attention to one arched brow and a glowing reddish eye (a feature made even more striking by the repetition of its color and shape in nipples, genitals, and navel). Elbows direct arms that appear severed; his left hand disappears behind unruly hair, and his right arm seems to disintegrate below the joint. He looks close to what the art critic Julius Meier-Graefe described six years prior as the New Vienna, works of art that showed figures who were “shockingly thin, weak of bone and precociously diseased.”

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