Head (Self-portrait) (1921)

His father was the manorial architect of Prince Tasziló Festetics and a teacher at the Georgikon Academy of Economics. After completing his secondary education, he also enrolled at the Keszthely Academy of Economics, but he wanted to pursue an artistic career two years later. Emil Sauer (1862-1942) studied music in Vienna as a student of Ferenc Liszt's former student.

In 1915/1916, Károly Ferenczy was his master at the Budapest College of Fine Arts, but he left the college at the end of the academic year. He joined the circle of Lajos Kassák and Ma magazines with the progressive artists of the age. Thanks to his drawing skills and talent, he was able to perform as a finished artist after a short formal studies in painting. His paintings at that time were expressive, his forms powerful, and then they became block-like as a result of Cubism.

In 1918, his solo exhibition opened in the exhibition space of the Ma magazine and he participated in the MA III. together with, among others, Sándor Bortnyik, János Mattis Teutsch, Béla Uitz, János Kmetty, József Nemes-Lampérth, Pál Pátzay. After 1919, the tendency to transcendence, spiritualism and religion intensified in his painting. Contrary to the activists, Schadl did not emigrate, but settled in Tata from 1922 and represented progressive art in his homeland.

Schadl's pencil drawing Head from 1921 can be compared in style to Hugó Scheiber's self-portraits from the 1920s. However, his portraits are less grotesque, but, as László Kostyál writes, Schadl "looks at a young man with a smile and a gloomy expression in his partly cubist self-portraits from 1920-22."  His artistic formal language, later called cubo-expressionist, which despite the name also shows futurist traits, mainly breaks down forms into circular arcs, softening the geometric purity of form until the head becomes patterned by light, turning the planar geomteria into a plastic value.

In 1927 he organized an exhibition of his works at the Mentor bookstore in Budapest and in 1932 at the Salon Parc Monceau in Paris. In the 1930s, he worked primarily as a music teacher, dealing with painting only incidentally. His images were tamed, the internal tensions replaced by the harmony of the sight.