How did Oskar Kokoschka’s brushwork change around 1912?

Starting around 1912, the brushwork of Austrian painter Oskar Kokoschka underwent a notable stylistic shift. His brushstrokes became increasingly broad and colorful, moving away from the more delicate, agitated lines seen in his earlier portraits.1

Additionally, he began utilizing heavier outlines that were broken rather than solid, meaning they no longer firmly enclosed the forms within his compositions. This evolution is evident in works such as Double Portrait (Oskar Kokoschka and Alma Mahler) (1912) and Self-Portrait, Pointing to the Breast (1913). By the time he painted his significant work The Tempest (1914), his technique featured large, loose strokes of color that created a sense of swirling motion throughout the entire composition.1