The Red Egg - Oskar Kokoschka
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Beschreibung
A biting political allegory by Oskar Kokoschka, painted in 1940 to critique the Munich Agreement and the annexation of Czechoslovakia.
Painted during his exile in London, The Red Egg is a biting political allegory by Oskar Kokoschka. The work functions as a critique of the Munich Agreement of 1938, which allowed Nazi Germany to annex the Sudetenland. The central motif, a solitary red egg on a plate, represents the dismembered state of Czechoslovakia, served up as a meal for the aggressors.
Kokoschka employs a chaotic, aggressive application of paint to convey his disdain for the political figures involved. To the left, a figure wearing a mitre marked with a swastika represents the complicity of the church, while the large, grotesque head on the right serves as a caricature of the political leadership of the time. Beneath the table, a cat sits, observing the scene with a sense of detachment. In the background, the city of Prague is depicted in flames, a direct reference to the destruction wrought by the conflict. The inclusion of the text 'In Pace Munich' acts as a sardonic commentary on the false peace promised by the agreement.
The composition is deliberately crowded and unsettling, reflecting the artist's personal trauma and his reaction to the geopolitical collapse of Europe. Kokoschka uses a palette of jarring greens, yellows, and deep reds to heighten the sense of urgency and moral outrage. The brushwork is thick and gestural, typical of his mature expressionist style, which prioritises emotional impact over representational accuracy. This piece remains a significant example of how artists used their practice to respond to the rise of fascism during the Second World War, moving away from traditional portraiture to engage with the political realities of the era.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Red Egg - Oskar Kokoschka
Artist Biography
Oskar Kokoschka
He was born in 1886 in Pochlarn, Austria. He was shot through the head in Ukraine and bayoneted in the chest in Russia. He survived both.
After the war, he commissioned a Munich dollmaker named Hermine Moos to create a life-size replica of Alma, sending detailed instructions about the feel of her skin and the weight of her body. Moos covered the figure in feathers instead. Kokoschka eventually staged a public execution: he decapitated the doll and smashed a bottle of wine over its head on his lawn. The police arrived the next morning, thinking he had murdered a woman.
The Nazis declared him a degenerate artist. He fled Czechoslovakia for London after the Munich Agreement and became a British citizen in 1947. His Expressionist portraits are among the most psychologically penetrating of the twentieth century: raw, agitated surfaces that seem to expose the sitter's interior state. He lived to ninety-four.
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