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su: Edvard Munch
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Becoming Edvard Munch : influence, anxiety, and myth by Jay A. y. ClarkePublication Date: 2009-01-01
In this book, Jay A. Clarke shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munch's paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munch's diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal.
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Edvard Munch: an anthology by Erik MørstadPublication Date: 2006-08-01
The nine essays written by art historians from the US, Germany, Switzerland, and Norway shed new light upon different sides of Munch and his art, as well as on the impact he has had in art history. The authors in this anthology are more critical of their sources than has been seen earlier in research on Munch, and their interpretations of works are increasingly based on information that can be documented. One of the authors describes the process of identifying a formerly unknown Munch painting, Seated Nude and Three Male Heads, as well as addressing general problems of dating concerning Munch's oeuvres. In another essay, it is argued that Munch and his works have often been better comprehended by other artists than by traditional art historians.
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Edvard Munch : love and angstPublication Date: 2019-06-11
Edvard Munch (1863-1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. Munch's early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister when he was growing up.
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The Private Journals of Edvard Munch: we are flames which pour out of the earth by Edvard Munch; J. Gill Holland (Editor); Frank Høifødt (Foreword by)Publication Date: 2005-08-01
Scandinavia's most famous painter, the Norwegian Edvard Munch considered himself a writer as well as a painter. Munch began painting as a teenager and, in his young adulthood, studied and worked in Paris and Berlin, where he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. Known as an artist who captured both the ecstasies and the hellish depths of the human condition, Munch conveys these emotions in his diaries but also reveals other facets of his personality in remarks and stories that are alternately droll, compassionate, romantic, and cerebral.
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Edvard Munch : behind the Scream by Sue PrideauxISBN: 9781283705448
Publication Date: 2005-01-01
Although almost everyone recognizes Edvard Munch's famous painting "The Scream, "hardly anyone knows much about the man. What kind of person could have created this universal image, one that so vividly expressed all the uncertainties of the twentieth century? What kind of experiences did he have? In this book, the first comprehensive biography of Edvard Munch in English, Sue Prideaux brings the artist fully to life. Munch sought to paint what he experienced rather than what he saw, and as his life often veered out of control, his experiences were painful. Yet he painted throughout his long life, creating strange and dramatic works in which hysteria and violence lie barely concealed beneath the surface.
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Munch by Elizabeth InglesISBN: 9781780427065
Publication Date: 2012-03-22
Edvard Munch, born in 1863, was Norway's most popular artist. In his works, Munch turned again and again to the memory of illness, death and grief. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a 'Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish.
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