The Graphic Art of Edvard Munch
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Included in this book are over a hundred examples of Munch's gaphic work illuminated by Werner Timm's original and sensitive study, they make a representative selection from his vast output spanning the years 1894-1930. While he surveys Munch's graphic oeuvre in the context of the period, W. Timm also traces this great artist's personal evolution.
Henrik Rytter, the two reading poetry to each other. Munch knew whole anthologies by heart. He also made some attempts at writing him- self. He planned a cycle of graphics with poems in prose, and in his posthumous papers a dramatic work was found entitled The City of Free Love. Among philosophers he was chiefly attracted by Nietzsche, Schopenhauer and Kierkegaard. Stenersen noted: 'In his later years Munch had a preference for Kierkegaard.' Ideas, feelings and human problems, expressed in
anything would present: would a strong young woman putting her head against to paint all this as sacredness and greatness of would be I felt it and it just now, but in a blue they were not just themselves but only . . . People will understand the will take off their hats as with his often quoted statement: of such pictures. a No longer shall I though they 'I should like paint interiors, and 48 people reading or feel women and suffer and who breathe and knitting,
collections, works belonging together did to stay together. It works form a is perhaps to be regretted that he did not collect graphic composite cycle, or even conceive them as such, the way Klinger had done, and as he himself did only once in his Alfa and which is in the Aus dem Haus Max Linde (Sch 176-191), 1902. have the cycle But what the scattered. managed to He room for a like a Omega paraphrase of The Frieze of Life/' Munch's attempt to represent the basic own
1890 he was very anxious to educate himself. from the sculptor Julius Middelthun. And when, artists-one of them Munch-formed to criticise their was I bedroom. Quietly to his drawing board and began light to recon- succeeded and lay down, comforted, falling asleep quickly.'- Years later an impressive lessons my went home his bedside praying. closed the door and went to last I 'I at the open he painted for a its Plate 144 pupils, but He took drawing in 1882, seven a
of the which, among other things, brought about a change in women. Surprisingly at first sight, there appeared in 1930 yet another Marat-like composition Professor Schreiner before Munch' s Body (MS 551). anatomist, and friend of the artist, himself-in the way scientist, takes the place of the killer-woman. does not represent him as a murderer, but as a -Munch A of his profession. man approaching The ageing artist, Munch the body now almost seventy years old, represents