Edvard Munch

Edvard Munch (to pronounce " Mounk") (December 12th 1863 - January 23rd 1944) is a graphic designer and painter Norwegian expressionnist .

Edvard Munch can be regarded as the pioneer of the Expressionnisme in modern painting. It is very early famous for its membership at a new artistic time in Germany and Central Europe, and its work and its importance are recognized today in Europe and in the world. Most known works of Munch are those of the years 1890, in particular the Cry . Its later production draws however attention more and more and seems to inspire the current artists in particular.

Its youth

Edvard Munch was born on December 12th, 1863. It grows in the Norwegian capital, which was called at the time Christiania. His/her father, Christian Munch brother of the historian Peter Andreas Munch - is a deeply religious army medical officer, with the modest incomes. His wife, younger than him 20 years, dies of tuberculosis whereas Edvard is only five years old. This one is also of weak constitution, but it is his/her Sophie older sister who is the following victim of phthisis (one of the forms of tuberculosis). A younger sister is quickly diagnosed like suffering of “melancholy” (today depression). Of the five children only his brother Andréas Marie, but he dies a few months after his marriage. Munch generally returns to the impressions of disease, died and sadness.

Realism

Munch studies one year at the technical training school before being devoted very seriously to Article It studies the former Masters, follows the course of drawing of naked to the royal school of drawing and obtains during a time the correction of the largest Norwegian naturalist of the time, Christian Krohg. Its first works are impregnated of a realism inspired of French realism, and quickly it appears like a great talent. In 1885, Munch accomplishes a short stay in Paris. This same year it begins its work on a decisive table the Ill child . There it breaks radically with a realism which one sees like a reason in him with Christian Krohg. For Munch, it is about his Sophie sister. He works a long time on this table, in the search of a first impression and a satisfactory pictorial expression to transcribe a painful personal experience. He gives up space and the plastic form and chooses a composition pointing out an icon. The surface of the table shows the signs of a difficult creative process. Criticism is very negative.

Principal works of the following years are less provocantes by their form. Inger with the beach in 1889 shows the aptitude of Munch for the representation of atmosphere lyric, in the same vein as the Néoromantisme of the time. It paints this painting with Åsgårdstrand, a small town of the littoral of the neighborhoods of Horten. The very sinuous littoral, characteristic of this area, is found like significant leitmotiv in many compositions of Munch.

Christiana-Bohemian

In 1889, it paints in particular the portrait of the Norwegian author of the novel Scènes of Bohemian of Kristiania , Hans Jæger. The frequentation in second half of years 1880 of Jæger and her circle of radical anarchists marks a decisive turn in the life of Munch and is the source of a change and an internal conflict. It is at that time that its vast biographical-arts person production starts, that it will begin again at several times of his existence. These first drawings function like “consultations” of the various central motivations of the years 1890. In agreement with the ideas of Jæger, he wants to retranscribe by the capture nearest and most faithful possible the pangs and the troubles to the modern life: he wants “to paint his own life”.

France

With the autumn 1889, Munch is entitled to a great exposure of its works to Christiana, where the State grants to him a purse of artist for three years. Paris, where it becomes for one moment the pupil of Leon Bonnat, is a logical destination. But the most important impulse, it feels it while being directed in the artistic life of the city. It is at that time that borer a post-impressionist movement with several experiments anti-naturalists. That causes to release Munch. “The camera cannot compete with the brush and the pallet,” writes it, “as long as one cannot use it with the Paradise or in Hell. ”

Shortly after its arrival in Paris, Munch receives the news of dead of his/her father. It is in this context that one often interprets the loneliness and the melancholy of his table Nuit (1890). The dark interior with the only figure with the window is completely dominated by tons blue, a painting “your on your” which points out the night agreements of color of James McNeill Whistler. This modern and single work is also an expression of the “decline” of the last years of the 19th century.

During its exposure of the autumn 1891 to Christiana, Munch shows inter alia melancholy. In its tables dominate the curved broad outlines and the homogeneous zones of colors, a simplification and a stylization used by Paul Gauguin and the French synthetists. “Symbolism - nature was formed in a moral environment” writes Munch.

At that time it carries out the first drafts of its most known work, the Cry . It also paints a series of tables in an impressionist style and pointillist, with reasons for the Seine or street of parade of Christiana, Karl Johan. But what interests especially Munch, they are the impressions of the heart and not those of the eyes.

Germany

To the autumn 1892 Munch presents the fruits of its French stay. Following this exposure it is invited by the “club of art of Berlin” ( Berliner Kunstverein ), where these same works must be exposed. But that finishes by nightmarish “a success of scandal”. The public and the old painters include/understand Munch like an anarchistic provocation, and the exposure is closed because of the protest.

Munch was thus made a name with Berlin when it decides to remain there. It enters a circle of arts persons, artists and intellectuals where the Scandinavians are strongly represented. One finds there inter alia the Swedish playwright August Strindberg, the Polish poet Stanisław Przybyszewski, the Danish writer Holger Drachmann and the historian of German art Julius Meier-Gräfe. One discusses there the philosophy of Nietzsche as well as Occultisme, of Psychologie and dark sides of sexuality.

In December 1893 exposes on the avenue Unter den Linden. It presents inter alia six paintings under the title Étude in a series: the Love . That marks the beginning of what will become the cycle the Plank of the Life ( Lebensfries ), “a poem on the Life, the Love, Death”. One finds there reasons saturated with environment ( Stimmungsgesättigit ), like the storm , Moonlight and Starlight night , where one can feel the influence of germano-Switzerland Arnold Böcklin. Other reasons light the night side of the love, like Rose and Amélie and Vampire . Several tables have death like topic, and most outstanding death in the sick room is . In this composition in particular the debts of Munch towards the French synthetists and Symbolists are noticed. With its raw colors and blafardes, the table shows a strongly fixed scene, comparable with the final table of a part of Ibsen. The scene points out the death of his/her Sophie sister, and all the family is represented. Dying, sitting in an armchair, back is represented, but attracts the glance on the character who represents Munch itself.

The following year, the plank continues with tables like the fear , Cendres , Madone , Sphinx or the three ages of the woman , a monumental table completely in the spirit of symbolism. In common with Meier-Gräfe, inter alia, Przybyszewski in 1894 the first publication realizes on the work of Munch. It describes it like “psychic realism”.

In the Years 1930 and 1940, the Nazis judge his work “degenerated Art” and withdraw its tables of the German museums. Munch is deeply stirred up by this situation, him which is Antifasciste and which regarded the Germany as its second fatherland.

Return in France

In 1896, Munch gives up Berlin for Paris, where remain in particular August Strindberg and Meier-Gräfe. It concentrates more and more on the average graphs, at the expense of painting. In Berlin, it had started with engraving with strong water and the lithography; it now carries out in collaboration with the famous printer Auguste Clot lithographies in colors and its first engraving on wood. It envisages also the production of a plank under the name the mirror . Its sovereign control of the average graphs and its great artistic originality make that he is recognized today like traditional of graphic arts.
It carries out two posters of programs for parts of Ibsen to the theater of Work while the illustration of the Fleurs of the Evil of Baudelaire remains unfinished.
Of return in Norway in 1898, it carries out the illustrations of an special edition of the German newspaper Quickborn , with texts of August Strindberg.

The Beautiful Time
With the Beautiful Time, Munch tries to finish its plank. It paints a series of new tables, some in larger formats, partially impressed esthetics of JugendStil. For large table Metabolism (1898), it produces a framework of wood with carved reliefs. It receives initially the name of Adam and Eve and occupies the central place of the myth of the original sin in the pessimistic philosophy of the love of Munch. Works like the cross empties or Golgotha (both of 1900) reflects a metaphysical orientation of the time and is also an echo of the youth of Munch in a medium of piety.
An exhausting love affair at that time consolidates Munch in the fact of living art like a vocation.
The Beautiful Time is an uninterrupted phase of experiments. A decorative and sharp style appears, influenced by the art of the Nabis, in particular of Maurice Denis. Already in 1899, Munch painted dance of the life , table which can be summarized like a personal and daring “monumentalisation” of this decorative style. A series of landscapes of the fjord of Christiana, delicate and decorative studies of nature, are regarded as the paroxysm of Scandinavian symbolism. It paints the girls on the bridge , traditional table in charge of emotions, during the summer 1901 in Åsgårdstrand.

Success and crisis
At the beginning of the XXe century, Munch was in position to build a true career. In 1902, it presents to the exposure Secession to Berlin for the first time the plank in its entirety. An exposure of Munch in Prague influences many Czech artists. The portraits, often in foot, take an increasingly important place in its work. The portrait of group four wire of Doctor max Linde (1904) account among the largest masterpieces of the modern portrait.

Death
Edvard Munch is deceased with Ekely, close to Oslo in Norway the January 23rd 1944, at 80 years. It bequeaths approximately a thousand of tables, 4500 drawings and watercolours and six sculptures at the town of Oslo, which builds in its honor the Musée Munch with Toyen.
The effigy of Edvard Munch appears on the tickets of 1000 krone, the Norwegian currency.

Works

the Cry ( Skrik , 1893) is probably its most known work. As in the case of much of its works, it painted several versions of them. the Cry is a part of the series the Plank of the Life , that Munch assembled with the turning of the century; it treats in a recurring way of the topics of the life, the love, the fear and death.
The most important collection of its works is with the Munchmuseet (the Musée Munch) with Tøyen in Oslo. Some of its paintings are with the Nasjonalgalleriet , the national gallery of Oslo. The bar Dagligstuen of the Continental Hotel of Oslo has many impressions.
The Cry and the Madonna were stolen on August 22nd, 2004 with the museum Munch of Oslo by two robbers. They were recovered in nonknown circumstances in August 2006 in Norway. Two works together are estimated at 100 million dollars is approximately 83 million euros.

Works carried out on Edvard Munch

The life and the work of the painter gave rise to other works, among which the film Edvard Munch, the dance of the life , of Peter Watkins, a biography of the youths of the artist, filmed in places where this last lived, with actors not-professionals, and in tons close to those of the fabrics of Munch.

See too

To paint the Century 101 major Portraits 1900-2000

External bonds

the museum Munch ('' Munch-museet '')

Gallery Munch

Biography of Munch

Gallery Munch

Edvard Munch in Artcyclopedia

the logo [[Google] made at the time of its birthday]

Simple: Edvard Munch Zh-min-nan: Edvard Munch
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