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NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
YOUNG WOMAN ON THE BEACH, 1896 BY EDVARD MUNCH Young Woman on the Beach, 1896 by Edvard Munch. Edvard Munch first used this figure of a solitary woman standing on a shoreline in a painting of 1891-92 known as The Lonely Ones. Although this early painting has been lost, the significance of the subject was such that he revisited it throughout his life in both painted and printed form. PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
YOUNG WOMAN ON THE BEACH, 1896 BY EDVARD MUNCH Young Woman on the Beach, 1896 by Edvard Munch. Edvard Munch first used this figure of a solitary woman standing on a shoreline in a painting of 1891-92 known as The Lonely Ones. Although this early painting has been lost, the significance of the subject was such that he revisited it throughout his life in both painted and printed form. EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated with such poets as SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE DANCE OF LIFE, 1899 BY EDVARD MUNCH The Dance of Life, 1899 by Edvard Munch. A distinction can be drawn between those of Munch's imaginative works that are directly symbolic, like Jealousy, and those like the present picture that are illustrations of a metaphor. The latter may be more difficult to interpret. Life is not in fact a dance and metaphor is too vague togive much
THE SUN, 1909 BY EDVARD MUNCH The Sun, 1909 by Edvard Munch. The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University's assembly hall, dominating through size, unmitigated frontality, and power of imagery. Munch extended the sun image in this mural from a partial to anembracing
ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. MADONNA, 1894 BY EDVARD MUNCH Madonna, 1894 by Edvard Munch. Originally called Loving Woman, this picture can be taken to symbolize what Munch considered the essential acts of the female life cycle: sexual intercourse, causing fertilization, procreation and death. Evidence for the first is in the picture itself, an intensified, spiritualized variation in the nude ofthe
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. SELF-PORTRAIT WITH CIGARETTE, 1895 BY EDVARD MUNCH Painted in 1895, when Munch was 32 years old, Self-Portrait with Cigarette is loaded with subtle contradictions. Lacking an identifiable environment and depicting the artist viewed frontally and slightly from below, the self-portrait represents Munch as a man ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of TWO HUMAN BEINGS (THE LONELY ONES), 1896 BY EDVARD MUNCH The title Two Human Beings is a straightforward description of the motif of this graphic print; The Lonely Ones describes the picture's mood. Two figures with their backs to the viewer - a woman and a man - dominate the composition. The distance between them, the contrast between his dark and her light figure and the subtle twist in the man's torso towards the woman express both attraction and EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The Mystery of a Summer Night, 1892 by Edvard Munch. The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated withsuch poets
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
SELF-PORTRAIT WITH CIGARETTE, 1895 BY EDVARD MUNCH Painted in 1895, when Munch was 32 years old, Self-Portrait with Cigarette is loaded with subtle contradictions. Lacking an identifiable environment and depicting the artist viewed frontally and slightly from below, the self-portrait represents Munch as a man ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of TWO HUMAN BEINGS (THE LONELY ONES), 1896 BY EDVARD MUNCH The title Two Human Beings is a straightforward description of the motif of this graphic print; The Lonely Ones describes the picture's mood. Two figures with their backs to the viewer - a woman and a man - dominate the composition. The distance between them, the contrast between his dark and her light figure and the subtle twist in the man's torso towards the woman express both attraction and EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with SELF-PORTRAIT WITH CIGARETTE, 1895 BY EDVARD MUNCH Painted in 1895, when Munch was 32 years old, Self-Portrait with Cigarette is loaded with subtle contradictions. Lacking an identifiable environment and depicting the artist viewed frontally and slightly from below, the self-portrait represents Munch as a man THE DANCE OF LIFE, 1899 BY EDVARD MUNCH The Dance of Life, 1899 by Edvard Munch. A distinction can be drawn between those of Munch's imaginative works that are directly symbolic, like Jealousy, and those like the present picture that are illustrations of a metaphor. The latter may be more difficult to interpret. Life is not in fact a dance and metaphor is too vague togive much
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated with such poets as ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
YOUNG WOMAN ON THE BEACH, 1896 BY EDVARD MUNCH Young Woman on the Beach, 1896 by Edvard Munch. Edvard Munch first used this figure of a solitary woman standing on a shoreline in a painting of 1891-92 known as The Lonely Ones. Although this early painting has been lost, the significance of the subject was such that he revisited it throughout his life in both painted and printed form. EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with SELF-PORTRAIT WITH CIGARETTE, 1895 BY EDVARD MUNCH Painted in 1895, when Munch was 32 years old, Self-Portrait with Cigarette is loaded with subtle contradictions. Lacking an identifiable environment and depicting the artist viewed frontally and slightly from below, the self-portrait represents Munch as a man THE DANCE OF LIFE, 1899 BY EDVARD MUNCH The Dance of Life, 1899 by Edvard Munch. A distinction can be drawn between those of Munch's imaginative works that are directly symbolic, like Jealousy, and those like the present picture that are illustrations of a metaphor. The latter may be more difficult to interpret. Life is not in fact a dance and metaphor is too vague togive much
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated with such poets as ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
YOUNG WOMAN ON THE BEACH, 1896 BY EDVARD MUNCH Young Woman on the Beach, 1896 by Edvard Munch. Edvard Munch first used this figure of a solitary woman standing on a shoreline in a painting of 1891-92 known as The Lonely Ones. Although this early painting has been lost, the significance of the subject was such that he revisited it throughout his life in both painted and printed form. EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. EVENING ON KARL JOHAN STREET, 1892 BY EDVARD MUNCH Evening on Karl Johan Street, 1892 by Edvard Munch. Courtesy of www.EdvardMunch.org. The 'cropping' techniques of Degas, Japanese prints, and photography, provide Munch with a method of intimating threat and unease, as the vacant, pitiless gazes of the bourgeois strollers bear down on the viewer. The mood of nocturnal catalepsycomes from Munch
WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with SELF-PORTRAIT WITH CIGARETTE, 1895 BY EDVARD MUNCH Painted in 1895, when Munch was 32 years old, Self-Portrait with Cigarette is loaded with subtle contradictions. Lacking an identifiable environment and depicting the artist viewed frontally and slightly from below, the self-portrait represents Munch as a man THE DANCE OF LIFE, 1899 BY EDVARD MUNCH The Dance of Life, 1899 by Edvard Munch. A distinction can be drawn between those of Munch's imaginative works that are directly symbolic, like Jealousy, and those like the present picture that are illustrations of a metaphor. The latter may be more difficult to interpret. Life is not in fact a dance and metaphor is too vague togive much
THE MYSTERY OF A SUMMER NIGHT, 1892 BY EDVARD MUNCH The symbolist movement has a lasting effect on Edvard Munch, particularly that variety of it sometimes called synthetism, initiated by Paul Gauguin and practiced by the Pont-Aven painters and the group called the Nabis. Symbolism was originally a literary movement, associated with such poets as ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
YOUNG WOMAN ON THE BEACH, 1896 BY EDVARD MUNCH Young Woman on the Beach, 1896 by Edvard Munch. Edvard Munch first used this figure of a solitary woman standing on a shoreline in a painting of 1891-92 known as The Lonely Ones. Although this early painting has been lost, the significance of the subject was such that he revisited it throughout his life in both painted and printed form. EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG THE SUN, 1909 BY EDVARD MUNCH The Sun, 1909 by Edvard Munch. The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University's assembly hall, dominating through size, unmitigated frontality, and power of imagery. Munch extended the sun image in this mural from a partial to anembracing
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the PUBERTY, 1894 BY EDVARD MUNCH Puberty, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. Puberty was created between 1894 and 1895. It follows his general impressionistic style. It was created near the end of his "puberty" period of work. At the center of the painting is a young girl. MOONLIGHT, 1895 BY EDVARD MUNCH Moonlight, 1895 shows one of Munch's most simplified depictions of the Norwegian coastal landscape in the light of a summer night.Thematically it is related to The Voice, which Munch had painted earlier, in that case with a female figure in the central foreground.Moonlight captures a mood of nature, without human presence. The first thing to catch our attention is the unusual pillarof
BY THE DEATH BED, 1896 BY EDVARD MUNCH By The Death Bed, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. "Illness, madness and death were the black angels that watched over my cradle and have since followed me through life," Munch wrote in his notes, almost as an explanation for all the death-related motifs that were to form a large, significant part of his pictorial world. SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to THE SCREAM, 1893 BY EDVARD MUNCHSEE MORE ON EDVARDMUNCH.ORG THE SUN, 1909 BY EDVARD MUNCH The Sun, 1909 by Edvard Munch. The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University's assembly hall, dominating through size, unmitigated frontality, and power of imagery. Munch extended the sun image in this mural from a partial to anembracing
NIGHT IN SAINT CLOUD, 1890 BY EDVARD MUNCH Munch first created Night in Saint Cloud in 1890, while living in the Parisian suburb of Saint-Cloud. In the years 1889-91, Edvard Munch lived in France, supported by an artist's bursary from the Norwegian state. When cholera broke out in Paris in December 1889, Munch moved to St. Cloud, outside the city. WOMAN IN THREE STAGES, 1895 BY EDVARD MUNCH Woman in Three Stages, 1895 by Edvard Munch. This large canvas, sometimes called Sphinx, is the principal version of a theme that Munch frequently repeated and modified. It is the recognizable point of origin for The Dance of Life, and it derived in turn from numerous works depicting the confrontation of Man and Woman. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with EDVARD MUNCH BIOGRAPHY Edvard Munch was born in Norway in 1863 and, with the notable exception of the two decades from 1889 to 1909 spent traveling, studying, working and exhibiting in France and Germany, he lived there until his death in 1944. He was active as a painter from the 1880s until shortly before his death, though the greater part of his oeuvre, and certainly the better-known part, was produced before the THE SUN, 1909 BY EDVARD MUNCH The Sun, 1909 by Edvard Munch. The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University's assembly hall, dominating through size, unmitigated frontality, and power of imagery. Munch extended the sun image in this mural from a partial to anembracing
SEPARATION, 1896 BY EDVARD MUNCH Separation, 1896 by Edvard Munch. Courtesy of www.EdvardMunch.org. Over and over again in his pictures of the middle 1890s Munch used variations of the same images - the column of light on the sea, the blonde giri on the beach, the lustful woman in red, the older woman in black, the unhappy man, etc - juggling them in various combinations to ASHES, 1894 BY EDVARD MUNCH Ashes, 1894 by Edvard Munch. For sheer beauty this work ranks high in Munch's oeuvre. As a static tableau of the mind, it shows the influence of the French synthetist painters. But its looser contours, sometimes doubled, rich somber colors, and lack of primitivist stylization give it a life and atmosphere rarely found in their work. ANXIETY, 1894 BY EDVARD MUNCH Anxiety, 1894 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with WORKERS RETURNING HOME, 1913-15 BY EDVARD MUNCH Workers Returning Home, 1913-15 by Edvard Munch. Courtesy of www.EdvardMunch.org. No other painting conveys so strongly Munch's belief in the working class as the dominant force in the society of the future. The tramp of the weary workers along the road home, from the distant vanishing point up to and beyond the picture plane, almostcertainly
THE DAY AFTER, 1894-95 BY EDVARD MUNCH The Day After, 1894-95 by Edvard Munch. When Jens Thiis bought this picture for the National Gallery, Oslo, in 1909 the public was shocked; one critic denounced it as portraying a drunken prostitute. This is unlikely to have been Munch's idea. He did paint several pictures of prostitutes, tending to depict them as unattractive oreven grotesque
ART ANALYSIS: MEANING OF THE SCREAM BY EDVARD MUNCH Art Analysis: Meaning of The Scream by Edvard Munch. Toward the end of the 19th century, at about the same time renowned psychiatrist Sigmund Freud was investigating unconscious phenomena and the influence of childhood events on the causation of DEATH IN THE SICKROOM, 1895 BY EDVARD MUNCH Death in the Sickroom, 1895, condenses the despair and anguish that Munch and his family experienced as a result of the ravages of tuberculosis: . The illness followed me through all my childhood and youth - the germ of consumption placed its blood-red banner victoriously on the white hankerchief - my loved ones died one by one. JEALOUSY, 1895 BY EDVARD MUNCH Jealousy, 1895 by Edvard Munch. Courtesy of www.EdvardMunch.org. This painting brings together the Adam and Eve theme with the portrayal of Stainislaw Przybyszewski - Munch's Polish poet fried, with his prominent bearded features. Przybyszewski's likeness in Jealousy has often been lined to Munch's presumably amorous relationship with thepoet
* Home
* Masterpieces of Edvard Munch * The Sick Child, 1885 * Night in Saint Cloud, 1890 * Spring Day on Karl Johan Street, 1891 * Evening on Karl Johan Street, 1892 * The Mystery of a Summer Night, 1892* The Scream, 1893
* Vampire, 1893
* The Storm, 1893
* Starry Night, 1893* Ashes, 1894
* Melancholy, 1894
* Puberty, 1894
* Madonna, 1894
* Anxiety, 1894
* The Day After, 1894-95 * Death in the Sickroom, 1895 * Woman in Three Stages, 1895* Jealousy, 1895
* Self-Portrait with Cigarette, 1895* Separation, 1896
* Young Woman on the Beach, 1896 * Two Human Beings (The Lonely Ones), 1896 * By The Death Bed, 1896* The Kiss, 1897
* Fertility, 1898
* The Dance of Life, 1899 * Girls On The Bridge, 1899 * Red Virginia Creeper, 1898-1900* Moonlight, 1895
* Encounter in Space, 1898* Winter, 1899
* Dance on the Shore, 1900-02* White Night, 1901
* The Death of Marat, 1907* The Sun, 1909
* The Yellow Log, 1911-12 * Workers in the Snow, 1912 * Galloping Horse, 1912 * Man in a Cabbage Field, 1913 * Workers Returning Home, 1913-15* Horse Team, 1919
* Self-Portrait Between the Clock and the Bed, 1940 * Edvard Munch Painting Gallery* Biography
* Quotes
* Edvard Munch's Art AnalysisEDVARD MUNCH
Paintings, Biography, and QuotesOur Etsy Store
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EDVARD MUNCH AND HIS PAINTINGS EDVARD MUNCH is a Norwegian born expressionist painter. His best-known work, The Scream , has become one of the most iconic images of world art. In the late 20th century, he played a great role in German expressionism and the art form that later followed; namely because of the strong mental anguish that was displayed in many of the pieces that he created. Edvard Munch was born in Norway in 1863, and was raised in Christiania (known as Oslo today). He was related to famous painters and artists in their own right, Jacob Munch (painter), and Peter Munch (historian). Only a few years after he was born, Edvard Munch's mother died of tuberculosis in 1868, and he was raised by his father. Edvard's father suffered from mental illness, and this played a role in the way he and his siblings were raised. Their father raised them with the fears of deep-seated issues, which is part of the reason why the work of Edvard Munch took a deeper tone, and why the artist was known to have so many repressed emotions as he grew up. In 1885, Edvard Munch traveled to Paris, and was extremely influenced by Impressionists such as Claude Monet, Edouard Manet ,
and followed by the post-impressionism artists Vincent van Gogh, Paul Cezanne
, and Paul Gauguin
. In fact, the main style of Munch's work is post-impressionism , and focused on this style. From about 1892, to 1908, Munch split most of his time between Paris and Berlin; it was in 1909 that he decided to return to his hometown, and go back to Norway. During this period, much of the work that was created by Edvard Munch depicted his interest in nature, and it was also noted that the tones and colors that he used in these pieces, did add more color, and seemed a bit more cheerful, than most of the previous works he had created in years past. The pessimistic toning which was quite prominent in much of his earlier works, had faded quite a bit, and it seems he took more of a colorful, playful, and fun tone with the pieces that he was creating, as opposed to the dark and somber style which he tended to work with earlier on during the course of his career. From this period, up to his death, Edvard Munch remained in Norway, and much of his work that was created from this period on, seemed to take on the similar, colorful approach which he had adopted, since returning home in 1909. > Nature is not only all that is visible to the eye... it also > includes the inner pictures of the soul.”- Edvard Munch A majority of the works which Edvard Munch created, were referred to as the style known as symbolism. This is mainly because of the fact that the paintings he made focused on the internal view of the objects, as opposed to the exterior, and what the eye could see. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism . In painting, Symbolism represents a synthesis of form and feeling, of reality and the artist's innersubjectivity.
Many of Munch's works depict life and death scenes, love and terror, and the feeling of loneliness was often a feeling which viewers would note that his work patterns focused on. These emotions were depicted by the contrasting lines, the darker colors, blocks of color, somber tones, and a concise and exaggerated form, which depicted the darker side of the art which he was designing. Munch is often and rightly compared with Van Gogh, who was one of the first artists to paint what the French artist called "the mysterious centers of the mind." But perhaps a more overreaching influence was Sigmund Freud , a very close contemporary. Freud explained much human behavior by relating it to childhood experiences. Munch saw his mother die of tuberculosis when he was 5, and his sister Sophie died of the same disease when he was 14. Munch gives the By the Death Bed and Death in the Sickroom a universal cast by not specifically depicting what he had witnessed. Several versions of The Sick Child are surely his sister. Edvard Munch passed away in 1944, in a small town which was just outside of his home town in Oslo. Upon his death, the works which he had created, were not given to family, but they were instead donated to the Norwegian government, and were placed in museums, in shows, and in various local public buildings in Norway. In fact, after his death, more than 1000 paintings that Edvard Munch had created were donated to the government. In addition to the paintings that he had created during the course of his career, all other art forms he created were also donated to the government. A total of 15,400 prints were donated, 4500 drawings and water-color art was donated, and six sculptures which Edvard Munch had created, were all turned over to the Oslo government, and were used as display pieces in many locations. > In common with Michelangelo and > Rembrandt I am more interested > in the line, its rise and fall, than in color. ”- Edvard Munch Due to the fact that all of this work which Edvard Munch had created, was donated to the Norwegian government, the country decided to build the Munch Museum of Art . This was done to commemorate his work, his life, and the generosity which he showed, in passing his artwork over to the government, so that it could be enjoyed by the general public, rather than be kept locked up by the family. Although the art which he did donate, was spread throughout a number of museums and art exhibits, a majority of them were kept in Oslo. And, most of the works which were donated by Munch, were placed in the _Munch Museum of Art_, to commemorate the work he did, as well as the unique style, and the distinct movements which he introduced to the world, through the creations which he had crafted. EDVARD MUNCH'S MASTERPIECES*
The Scream
*
Vampire
*
The Dance of Life
*
The Sick Child
*
Self Portrait with Cigarette*
Night in Saint Cloud*
Sun
*
Madonna
*
Anxiety
*
Girl on the Bridge
*
Melancholy
*
The Storm
*
Woman in Three Stages*
The Day After
*
Young Woman on the Beach*
Evening on Karl Johan Street*
Workers in the Snow
*
Horse Team
*
Starry Night
*
Man in a Cabbage Field*
Red Virginia Creeper*
The Scream
*
Vampire
*
The Dance of Life
*
The Sick Child
*
Self Portrait with Cigarette*
Night in Saint CloudSponsored Story
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