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introduction
Self-portrait on his trunk in his studio in 82 Lützowstrasse in Berlin 1902. Collodion silver photograph. Munch-museet, Oslo
We do not want to paint pretty pictures to be hung on
drawing-room walls. We want to create, or at least
lay the foundations of, an art that gives something
to humanity. An art that arrests and engages. An art
created of one’s innermost heart. Edvard Munch
Edvard Munch
Death in the sickroom (Døden i sykevoerelset) 1896. Hand-coloured lithograph. Munch-museet, Oslo
Angst, Love, Death
While studying in Paris and in Nice in the south of France, Munch’s decision, at the age of seventeen, to become a painter
Munch was influenced by the Impressionists’ fascination was driven by the profound emotional experiences of his child-
with light and by the growing Symbolist movement which hood. Munch expressed the importance of communicating the
inspired his symbolic use of colour and simplification of form. emotional and psychological aspects of his experiences as early
He saw the work of Gauguin and van Gogh, whose Starry as 1888, when he was twenty-four:
night he paid tribute to in his own painting of the same name
thirty years later. These influences, together with the curving, We want more than a mere photograph of nature …
sweeping lines of Art Nouveau, were rapidly melded into his We want … an art created of one’s innermost heart.
highly individual style.
Edvard Munch
… all my portraits are exaggerated – Munch was already painting portraits by profile outlined against the sea, the pale
it cannot be otherwise … the early 1880s. Under Christian Krohg’s blue colours and inward mood suggest the
influence, Munch carefully observed the influence of Pierre Puvis de Chavannes.
Edvard Munch
sitter’s character and physical features to The painting marks an important stage in
create objective portraits in keeping with the development of Munch’s art of the time.
the demands of Realism. He progressed Overtones of Symbolism are evident with
very quickly in finding his own means of the merging of the human figure and the
expression within this traditional genre. landscape into a single entity.
Naturally members of his close family were Simplification of form, soft contours and
his first sitters and early portraits included decorative effects indicate that he is now
the half-length figure of his sister, Inger in rejecting Realism and its objectivity in
black, 1884. Shown at the World Exhibition favour of the subjective expression of inner
in Antwerp in 1885, the picture gave Munch personal experiences.
the opportunity to travel from Antwerp to
Munch painted portraits of friends and
Paris where he absorbed many influences
patrons, many of which were discovered
that were crucial to his artistic development.
after he died. Generally speaking, portraiture
Munch spent time in the small coastal demands a certain amount of likeness and
town of Åsgårdstrand, where the scenery characterisation. However, some scope
provided a starting point for the composition remains for subjective interpretation and the
of many of his best known works before he artist’s relationship with the sitter. Munch
set off for Paris after receiving a government often used photography to assist with these
scholarship. At Åsgårdstrand, he painted portrait commissions.
the beautiful Summer night/Inger on the
Munch’s imposing portrait of Consul
shore, 1889, depicting a lonely figure sitting
Christian Sandberg, 1901, was the first
on a rock in front of a motionless sea, in
of a series of male portraits. Sandberg, a
the light of a Nordic summer night. The
Consul Christen Sandberg (Konsul Christen Sandberg) 1901/1909. Oil on canvas. Munch-museet, Oslo
Portrait of the painter Aase Nørregaard (Portrett av kunstneren Aase Nørregaard) 1895. Oil on canvas. Nasjonalgalleriet, Oslo
Portraits CONTINUED
colourful personality, was a former naval
officer who acquired wealth and influence
intense gaze in an open-mouthed, smiling
face, and posed as if she is about to say
when he turned to trade. A personal friend something. Munch also used the figure of
of Munch, Sandberg is portrayed informally Aase Nørregaard as a full-length image in
with hands in pockets, as a likeable middle- The women on the pier, 1903.
class character.
Munch painted several formal portraits of
The portrait was begun on a canvas that professional models whom he worked with
was not big enough to include the man’s in the latter part of his career, in addition
left foot. When originally exhibited in Oslo to their appearances in figure studies and
and Copenhagen in 1903 and 1904, model paintings. Munch’s last professional
Munch rolled up the lower – unfinished model, who posed for him from 1932 to
– section so that it seemed to be a half- 1942, is depicted in Under the chestnut
length portrait. In 1909, Munch extended tree. Hanna Brieschke, 1937, under a
the canvas to include the foot, strategically blossoming horse chestnut tree, wearing
painting a pattern on that part of the floor to a coat with a flamboyant lynx collar. Hanna
conceal the sewn-on strip. Brieschke’s face looks frankly out at us.
Demonstrating Munch’s reference to
Munch also painted a number of portraits
Matisse, the decorative leaves and flowers
of women, one of whom was the artist
of the tree, which suggest a mandala, are
Aase Nørregaard, with whom he maintained
painted with the new painterly effects that
a warm relationship. He painted several
he was seeking in his later years.
portraits of her; in Portrait of the painter
Aase Nørregaard, 1895, she is dressed in
a beautiful evening gown, portrayed with an
of Art Nouveau.
In 1916 Munch settled at Ekely on the
outskirts of Kristiania where he completed
a series of paintings inspired by a small
forest of ancient elm trees. In Spring in
the elm forest III, 1923, Munch conveys
the impression of the old forest of gnarled
trees waking up after a long winter. In
the foreground the paint is applied in
short, broken brushstrokes in different
directions, contrasting with the long,
elegant brushstrokes in different hues in
the background. As with other works by
Munch, the interconnection of man and
nature can be perceived. The brown bark
and weathered, leafless trees can be
From his early paintings influenced by runs like a thread linking these paintings. associated with change and the evolution of
French Naturalism through to his later In this series the connectedness of human generations. Spring flowers and fresh grass
Expressionist styles, it is clear that nature to the Norwegian landscape and grow from dead leaves in the foreground, a
landscape was an important part of its extremes of climate can be clearly symbol of new life and hope.
Munch’s imagery. perceived.
Elements of the landscape were used by Moonlight, 1895, a painting with no human
Munch as a backdrop for his figurative figures, evokes the mood and mystery of
compositions from the 1890s. In The a summer night. Munch has stylised the
frieze of life images from this time, the landscape, combining soft beautiful colours
characteristic waterfront from Åsgårdstrand and elegant lines in this simple composition
Spring in the elm forest III. (Vår i almeskogen III) 1923. Oil on canvas. Munch-museet, Oslo
Munch’s experimentation with media and a different medium. Compare the oil painting As a printmaker Munch made drypoints,
techniques was driven by his expressive Anxiety, 1894, in the exhibition with the etchings and lithographs in the traditional
needs. He was not limited by tradition. He woodcut of the same theme, Angst, 1896. manner. However he developed his own
mixed media and techniques to express unique technique for colour woodcuts.
In the 1890s Munch experimented with
a particular mood or psychological state, In the woodcut Two human beings. The
adding pastel to his oil and tempera
and explored the different effects he could lonely ones, he used a fretsaw (jigsaw) to
paintings. The four ‘painted’ versions of
achieve by reinterpreting the same theme in cut the block into parts that could be inked
The scream (there is also a lithograph)
separately and then put them together
reveal this mixing of media. Three of the
again, like a jigsaw, for printing in one step.
four are painted on cardboard rather than
This not only made the process simpler, but
canvas, using water-based paint (tempera
the visible lines of white paper between the
or gouache) and either crayon or pastel.
sections serve to accentuate the theme of
Throughout his career he adapted his
separation and loneliness.
brushwork to suit the expressive needs
of the subject, as, for example, the short, Munch used photography to assist him
nervous brushstrokes seen in Jealousy, when painting portraits, but he soon
1907. For expressive purposes, Munch became fascinated with the technical and
would sometimes scrape back or score the expressive possibilities of the medium,
surface of his paintings, or allow paint to exploiting the accidental effects of blurring
drip, or leave the canvas in an apparently the image or using double exposures.
‘unfinished’ state. His experimental
Despite Munch’s mastery of a variety of
approach led to his works being very fragile
techniques, his technical experiments
and difficult to conserve. He actually took
were ‘never a means unto themselves’. For
pride in the poor condition of his paintings,
Munch, ‘the message was the important
preferring them to slick and technically well-
thing’. (Gerd Woll, ‘A good picture never
prepared paintings without energy, meaning
vanishes. The artist and his use of media’,
or soul. ‘A good painting with ten holes’, he
in Edvard Munch: The Frieze of Life (exh.
wrote, ‘is better than ten bad paintings with
cat.), National Gallery of Victoria, 2004).
no holes.’
Model undressing l (Modellen kler av seg I) 1920. Watercolour & crayon. Munch-museet, Oslo
Ideas for further discussion and research
ART PHILOSOPHY
Can you describe the many human emotions revealed in Munch’s • Love, death, hate and jealousy are experienced by most of us
work? Choose one work by Munch and discuss which art elements during our lives. Discuss the many kinds of human emotions and
he has used to convey an emotion or feeling effectively. ways of coping with their sometimes overwhelming effects.
• Create your own artwork which uses one or more of the art • What is art? Munch felt very strongly about the purpose of art
elements to express love, death or a powerful emotion that you and is known to have said:
have experienced. ‘In my art I have tried to explain to myself life and its
meaning. I have also tried to help others clarify their lives’.
• Compare an early Munch self-portrait with a late self-portrait.
Describe the changes that have taken place. Edvard Munch: The Frieze of Life (exh. cat.), National Gallery, London, p. 52
• Munch was known for his experimental techniques. Identify one of • Other artists working at the same time defined art in different
these and explain how it contributes to the expression of his ideas. ways:
‘Art is not for decorating walls. Painting is an instrument of
• Consider the Munch landscapes which reflect the seasons. Apart war, of war to be waged against brutality and darkness.’
from describing the landscape and seasons, what else could Pablo Picasso, 1881–1973
these paintings mean?
‘Art should be something like a good armchair in which to
• Using images of people from magazines and newspapers, create rest from physical fatigue.’ Henri Matisse, 1869–1954
a collage to portray human emotion in today’s society.
‘Art is meant to disturb.’ Georges Braque, 1882–1963
• Find out how other twentieth-century international artists such
as Pablo Picasso have depicted love and death. Describe the Think about what these artists have said. Do you agree with their
similarities and differences. views?
• Munch experimented with several radical styles of his time. Can • ‘A good painting never disappears … Most of Leonardo’s
you find the influence of van Gogh and Gauguin in his work? paintings are ruined – but still live – a brilliant idea never
Can you think of any other artists who may have influenced him?• dies.’ Edvard Munch
Research the work of the French artist Henri Matisse. What
What did Munch mean by this statement? Can you think of other
similarities can you find between this artist and Munch?
examples in the world where this concept applies?
• Why do you think Munch’s The scream has been reproduced
• Munch once said, ‘Without fear and illness, I could never have
repeatedly to promote such a wide range of social, political
accomplished all I have’.
and gender issues? Imagine you are an advertising copy writer
or a graphic designer – what cause would you publicise using Discuss the argument that it is necessary to experience extreme
this image? mental suffering in order to create ‘great’ works of art with a
universal quality.
ENGLISH • When Munch’s work The sick child was first shown, it was
regarded by the public as outrageous because of its direct
• Choose your favourite work by Munch. Describe how it makes subject matter and supposedly crude technique. – Can you
you feel. Find adjectives and other descriptive language that think of examples of art in today’s society which have caused
match the feelings, atmosphere and colours. Write a poem based a similar reaction?
on these words in response to the painting.
Joy Hester
Girl holding turkey (Vera),
1957
synthetic polymer paint, brush and
ink,
gouache on card
Brent Harris
Swamp (no. 2)
1999
oil on canvas
Danila Vassilieff
Young girl (Shirley)
1937
oil on canvas on board
Julie Rrap
Conception 1984
cibachrome photograph
time line
1863 Edvard Munch is born at Løten, Norway.
1868 Munch’s mother, aged thirty, dies of tuberculosis.
1877 Munch’s favourite sister, Sophie, dies of tuberculosis.
1879 Leaves engineering studies to become a painter.
1881 Commences study at the School of Design in Kristiania.
1884 Becomes part of Kristiania’s Bohemia.
1885 Travels to Europe to study. On return has an affair with Milly Thaulow, whom he later refers to as ‘Mrs Heiberg’.
1889 Resided in cottage at Åsgårdstrand. Has first solo exhibition in Kristiania. Sees works by van Gogh,
Seurat, Signac and Toulouse Lautrec. Studying in Paris when he learns of his father’s death.
1890 Lives at Saint-Cloud, outside Paris. Deeply depressed and ill. Henrik Ibsen writes Hedda Gabler.
1892 Exhibition in Berlin creates an uproar and is closed. Becomes a celebrity in artistic circles in Berlin.
1893 Paints portrait of playwright August Strindberg.
1893–95 Living in Berlin, joins cosmopolitan circle of writers. Brother, Andreas, dies.
1897 August Strindberg (1849–1912) writes The Inferno
1896–99 Travels and exhibits widely. Meets Tulla Larsen.
1900 Sigmund Freud publishes
The Interpretation of Dreams.
1902 Relationship with Tulla Larsen ends in bitterness. Designs set for Hedda Gabler.
1904 Sells 800 prints, exhibits paintings at Salon des Indépendants; labelled a Fauvist. Member of Berlin
Secession; influences Egon Schiele, Oskar Kokoschka.
1906 Designs murals based on The frieze of life for Kammerspiel Theatre, Berlin. Die Brücke group of German Expressio-
nists forms; Fauvism emerges in Paris.
1907 Paints The green room series. Picasso paints Les demoiselles
d’Avignon.
1908 Nervous breakdown in Copenhagen.
1909 Returns to Norway and settles in Kragerø in southern Norway. Works on murals for University of Kristiania.
1910–13 Continues painting and exhibiting in Vienna, Berlin, Paris, Munich, Kristiania and Gothenburg.
1914 World War I: Norway remains neutral.
1916 Buys property at Ekely on the outskirts of Kristiania, where he lives for the rest of his life.
1919 Exhibits in Kristiania and New York.
1920–22 Travels to Berlin, Paris, Wiesbaden and Frankfurt.
1923 Member of German Academy of Fine Art.
1925 Kristiania is renamed Oslo.
1926 His sister Laura dies.
1928 Oslo City Hall devotes a room for a mural by Munch.
1931 Munch’s aunt, Karen Bjølstad, dies.
1932–33 Receives many awards, including the silver Goethe Medal, the Grand Cross of the Order of St Olaf,
and the French Legion of Honour. Suffers near blindness as a result of a broken blood vessel in his eye.
1936 First solo exhibition in London.
1937 Eighty-two of Munch’s paintings labelled ‘degenerate’ by the Nazis.
1939–45 Munch refuses contact with Nazis or Norwegian collaborators. World War II. Norway remains neutral
but is occupied by German forces.
1944 Munch dies on 23 January, aged eighty. Bequeaths all of his works of art to the city of Oslo.
1963 Munch-museet, Oslo, is opened.
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