Of the four great nudes on canvas the seated one reproduced here and the standing male version, for which Schiele acted as his own model, were male the last to be painted.
Their angular, pointed outlines are still startling, but are clearly derived from a style he had developed in earlier works such as the Autumn Tree with Sitting. The projections and hollows in the outline of the nude reproduced here seem to reflect the essential structure of the figure much more logically, creating striking breaks in the dynamic interplay of straight and curving lines.
Category:Paintings of nude sitting men - Wikimedia Commons
In many respects the figure has the quality of a woodcut. The composition is exquisitely balanced.
The splayed legs branch off from a columnar torso stretching up at an angle to the right. For balance, the head inclines in the opposite direction. To male the integrity of the figure and guarantee its pictorial autonomy, its feet and any indication of the support on which it rests were simply sitting.
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The flesh tones seem unnatural; they consist mainly of lighter and darker values nude a greenish yellow set off by the orange of the rib cage and the reddish brown of the legs. Gigagalleries redhead are in turn contrasted against the deep blue-black of the hair and various accents in red: The lighter yellowish tone of the trunk is bracketed by deeper shades above and below.
The colors are all essentially sallow, and together with the angular projecting bone structure they suggest emaciation and weakness, but at the same time they reveal the essential structure of nude figure.
Here and there one becomes aware of a white aureole, but the lighter background as a whole is what gives the darker figure its vividness.