Egon Schiele: Death and the Maiden

Egon Schiele is a university student in pre-WWI Vienna, living in artistic poverty. He supports his younger sister Gerti with money from their wealthy uncle in Prague. He devotes himself to drawing and painting, focusing on figure studies of young women, while the stipend helps them survive.

As his work circulates, Egon sells a few drawings and paintings for modest sums. The monthly stipend from his Prague-based uncle continues to sustain them. He begins to gain some recognition, but money is not his primary driver.

Gustav Klimt, a leading figure in Vienna's art scene, takes notice of Egon's talent and considers buying some pieces. Egon remains uninterested in money as the driving force behind his art. The two artists strike an unusual arrangement: Klimt would trade some of his drawings for some of Egon's works, since Egon won't part with the pieces he creates.

The arrival of Klimt's model creates tension at Egon's studio and a romantic spark develops between them. Egon becomes fascinated with the aesthetics of the female form, shifting his attention toward the newcomer. The two artists begin sessions for drawing and painting.

Gerti grows perplexed as Egon's focus moves toward the model, straining their brother-sister bond. She writes to their uncle to explain the changing circumstances. In response, the stipend is cut off, and she is advised to return to a more conventional moral life.

Authorities hear rumors that Egon's drawings used underage girls as models for explicit nude work. He is summoned to a hearing that could change the course of his life.

Klimt's former model seeks help for Egon, and Klimt provides a defense. The proceedings reveal that none of the girls were objectified by Egon in a sexual sense, and medical examinations show they retained their maidenly virtue. Yet the court weighs the moral value of his art.

The drawings are deemed lewd and the court imposes a 30-day probation, sparing harsher penalties. The verdict marks a mixed victory: Egon is spared severe punishment, but his career and reputation come under intense scrutiny. He exits the courthouse with a fragile relief and a lingering threat over his future.

Years of poverty and mounting health problems take their toll on Egon. His relationship with Klimt's former model becomes untenable, and she volunteers as a nurse when World War I breaks out. Egon continues to work, preparing for exhibitions despite the hardship.

With the war underway, the former model serves as a nurse while Egon is now free to pursue marriage and stage his first exhibitions. He pushes artistic experimentation despite ongoing health issues. The war adds strain to his personal and professional life.

Egon's health deteriorates beyond medical help, and he dies at the age of 27. In his final years, he leaves behind a vast legacy of work, including over 600 oil paintings and more than 2,000 drawings. His studio becomes a treasure trove that posthumously defines his impact.

After his death, an accountant begins inventorying the enormous collection, gradually assigning prices to the works. The documentary montage at the end emphasizes the lasting value of his art and the stark reminder of a prodigious talent cut short. The closing scenes frame his legacy as a bridge between traditional and modern depictions of the female form.