http://www.jewishideasdaily.com/5252/features/art-and-idolatry-in-austria/
Art transforms life through beauty but inspires a possessiveness unlike any other. Collectors tend toward obsession, which overwhelms morality; museums, like the medieval church, wash away sin with exhibitions for the public good. Andrew Shea’s new documentary, Portrait of Wally (subtitled “the face that launched a thousand lawsuits”), examines these phenomena through the journey of a Viennese painting from a Jewish owner to Nazi loot to Austrian icon, a process interrupted—temporarily—by a family and the Manhattan District Attorney.
The Viennese painter Egon Schiele, born in 1890, is renowned for his phantasmagoric female nudes—louche and erotic, hovering between desperation and exhaustion. Schiele, a protégé of Gustav Klimt, was an indefatigable womanizer. Both artists displayed fin de siècle attitudes toward sexuality and figurative art: the naturalistic purity of line breaks to display uncertainty, neurosis, and compulsion.
But Schiele’s non-nudes were penetrating. His self-portraits revealed a man well aware of his obsessions, defiant unconventionality and grotesquerie, whose distortions reflected deeper truth. And his portrait of his mistress—Valerie Neuzil, or Wally—showed a woman who understood Schiele completely. Her large blue eyes and tilted head bespoke resignation, indulgence, and love, her beauty a striking contrast to the distortions of Schiele’s decadence.
Portrait of Wally, as it became known, belonged to Lea Bondi, a Viennese Jewish art dealer and one of Schiele’s first enthusiasts. A gift from the artist, it hung in her apartment. In 1939, a Nazi art dealer seized her gallery, then charged into her home and pulled the portrait off the wall. Bondi left London for Vienna the next day and never saw Wally again.