In the early 1900s, Viennese modernist artist Egon Schiele (1890&ndash;1918) stirred a controversy with his beguiling nude portraits of women, men and himself. They were almost always contorted and emotionally charged. Back then, the authorities confiscated hundreds of his works because of their sexually explicit nature. The combination of his artistic genius and perverse subject matter made him a polarising figure during the decade or so he spent as an exhibiting artist before succumbing to the Spanish influenza outbreak of 1918. Working on the other end of the twentieth century, Francesca Woodman (1958&ndash;1981) was an American photographer best known for her black and white pictures featuring either herself or female models. Her photographs show women, naked or clothed, blurred at times due to movement or due to long exposure at others. Her work continues to be the subject of much critical acclaim and attention, years after she committed suicide in 1981. It is easy enough to understand what the curators at Tate Liverpool were thinking when they decided to juxtapose these two radical artists in Life in Motion. Both artists were preoccupied with the naked human form and weren&rsquo;t reluctant to use their own bodies as subject matter; both displayed a sense of narcissism that quite readily resonates itself with today&rsquo;s &lsquo;selfie&rsquo; generation; and both of their careers were cut short by their untimely end in their 20s.<img src="http://magarticles.magzter.com/articles/3785/307447/5bbe049b1d708/1539179664871.jpg"" owidth=319 oheight=495" style="height:700px; width:451px" />According to art historian Albert Elsen, Schiele used Auguste Rodin&rsquo;s continuous drawing technique to create his loose, fluid figurative sketches. It required constant eye contact with the life model, making Schiele&rsquo;s process of drawing an extremely intimate experience between him and his subject. Woodman, on the other hand, was consistently performative and experimental in her process. She worked at the intersection of performance art, choreography and architecture. Her black and white photographs express a heightened awareness of her surroundings, interacting or merging with the often deteriorating space around the subject. The direct, uncompromising images depict the existential complexity of an identity in a permanent state of transition.Curated by Marie Nipper, Interim Artistic Director, and Tamar Hemmes, Assistant Curator, Tate Liverpool, Life in Motion sheds new light on the intensity and passion shared and conveyed by these two artists, whose approaches have resulted in the portrayal of candid moments. The exhibition, commemorating Schiele&rsquo;s 100th death anniversary, offers the viewer a rare opportunity to contemplate two of the most subversively brilliant observers of the human body in art history.

Life In Motion: Egon Schiele/ Francesca Woodman

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Arts Illustrated

A Sky Full Of Thoughts

We Are Looking into It

Cracked Wide Open

In Search of a Witness

Where the Shadows Speak

Bodies in Motion

Faces in the Water

A Meeting at the Threshold

The Imperfect Layout To The Imperfect Mystery

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