Arnold Schoenberg is world-renowned primarily as a composer and music theorist, but his visual art occupies a remarkable and unique position in twentieth-century art history. Amid the cultural upheavals of Vienna around 1900, Schoenberg developed an expressive, deeply subjective visual language that clearly distances itself from academic conventions. His paintings, especially portraits and self-portraits, are marked by an intense engagement with his own psyche and a radical openness to inner conflicts. The works, often executed in bold, contrasting colors with expressive brushwork, reflect the emotional turmoil and drive for artistic self-assertion that also characterize his musical oeuvre. Particularly striking is the painting "The Red Gaze," which, with its almost visionary use of color and the suggestive depiction of the face as a mirror of the soul, stands as one of the most impressive examples of Expressionist painting. Schoenberg's images engage in a close dialogue with those of his contemporaries from the Viennese circle, such as Oskar Kokoschka or Egon Schiele, yet remain unmistakably individual. His art is less concerned with external realities than with inner states: the canvas becomes a projection surface for fears, hopes, and existential questions. Schoenberg experimented with various techniques, from oil on canvas to ink and watercolor drawings, pushing the boundaries of the medium. In the context of modernism, Schoenberg occupies a bridging role: he connects musical innovation with visual avant-garde, creating a unique artistic oeuvre that continues to fascinate today. His paintings are rare but can be found in significant collections and museums, interpreted as expressions of an era marked by upheaval and the search for new forms of expression. In art prints, their suggestive power is particularly impressive, as the intensity of color and expressive lines are preserved even in reproduction. Schoenberg's visual work is a powerful testament to the complexity of artistic identity and the close connection between music and painting in the early twentieth century.