Dark
Angel: The Paintings of Edvard Munch
Reviewed
by Brad Hagarbome
Edvard Munch: A Visual
Language for the
“Sickness,
insanity, and death were the dark angels standing guard at my cradle and they
followed me throughout my life… I was born dying,1 Edvard Munch says shortly after his 70th
birthday. Munch was concerned with the
expressive representation of emotions and personal relationships. His paintings represented societal and
personal feelings of loss, illness, and human emotions, many of which are
displayed in a new exhibition at the Modern Museum of Art.
“Edvard
Munch: The Modern Life of the Soul” runs
through May 8,2006. This
exhibit is the first retrospective devoted to Munch’s works, a world-renowned
Norwegian painter, printmaker, and draftsman exhibited in an American museum in
almost 30 years. The MoMA provides a
survey of Munch’s paintings from 1880-1944 with 87 paintings and 50 works on
paper, all illustrative of each phase of Munch’s career as he moved from
Naturalism, towards an exploration of “modern existential experience,”2 of Symbolism. “The Modern Life of the
Artist” allows the patrons of the MoMA to visually comprehend Munch’s personal
struggles and trauma with a comprehension “of the fundamental components of
human existence: birth, love, and death.”3 Poetically illustrating this concept of the
artist, the painting, The Dance of Life
(1899-1900) greets visitors to Munch’s exhibit at the MoMA.
Born
on a farm outside what is now
From
1884-1889, Munch traveled extensively and while visiting
In
1889 while Munch was in
In
1892, Munch, while exhibiting 50 works at the Berlin Kunstlerverein (Artists’
“The
Freize of Life,” which Munch called “a poem of love, anxiety, and death…[and
to] explain life and its meanings,” 18
shown in 1902 at the Berlin Succession was well received and Munch’s changing
style is noticeable in his paintings as he moved from the somber and swirling
tonalities to “staccato brush strokes of brilliant, and high-keyed colors.”19 The love series titled “Loves Awakening”
included the following six pieces: Red
and White, Eye in Eye, Kiss (1892), and
Madonna (1893).20 Then came “Love
Blossom and Dies” series including; Ashes,
Vampire, Jealousy, Sphinx and melancholy. The “Fear of Life” paintings
were; Anxiety, Red Virginia Creeper, and The
Scream, all initially viewed in 1893. The latter piece and his most
infamous is now part of pop culture’s iconoclastic imagery; though not present
at the MoMA, after being stolen for the second time in 2004 and never
recovered. Previously it was stolen in
1994 and recovered after 3 months. The
final pieces of the series were under the title; “Death” and included the
paintings; Death Struggles, Death in the
Sickroom, The Girl and Death, and The
Dead Mother and Child. Although the
MoMA does not follow the same presentation of the 1902 viewing, it does provide
an overall sampling of Munch’s work presenting them in a certain aspect of
comparison and contrast. Along the same
wall reside The Kiss and Separation, two stunning paintings
representing the dichotomous relationship of love’s cycle. The
Kiss asserts a unity and oneness as the man and woman meld into each other
as they almost become one. They are
enveloped in lavish and deep reds exuding passion and sexuality. Whereas, Separation
exudes anguish and pain as the man and woman are surrounded by greens and blues
of melancholy and sorrow of isolation represented by the elongated shore and
stretched horizon. As we see the woman
walking away, almost with her back to us, while the man faces the viewer, one
can not help but to catch his gaze, forcing us to look at his hand over his
heart narrowly highlighted in bright red, representing the emotions of passion,
but also anger. This likely corresponds
to Munch’s break-up with Tulla Larsen, also a passionate and emotive person.
These pieces and the series took 30 years to complete, culminating in “The
Freize of Life, a visualized philosophy of sexuality, the psychology of love,
the generation of life and the effects of death” all influenced Munch’s
paintings during the 1890s.21
Then
in 1908, after a emotionally devastating breakup, which followed after being
shot by Tulla, though a minor injury, Munch suffered a complete nervous
breakdown, likely as a result of his personal life, excessive alcohol
consumption, and nicotine poisoning he returned to Norway and entered a
sanitarium.22 Munch abandoned his disturbing themes, believing this
to be a way of protecting his sanity.23 However, Munch never truly gave up the Bohemian
lifestyle, exemplified in two paintings.
Self Portrait: With a Cigarette
(1895) with a single light from the bottom of canvas creating an image of the
artist above the viewer and his truly emblematic cigarette of a Bohemian
artist. Another painting, Self Portrait: With a Bottle of Wine
(1906), shows Munch on his own terms, drinking, smoking, and likely
contemplating sex and death.
During
Munch’s latter years, Nazism was gaining ground in
In
Munch’s will, he bequeathed over 1,000 painting, around 15,400 prints, a number
of plates, 5,000 watercolors, and drawings, and 6 sculptures to the
Municipality of Oslo. The Munch Museet-Oslow
exhibited Munch’s works to the public in 1963.
Almost three decades later, the MoMA exhibit facilitates our
understanding of Munch’s many works, often commented on as intense and
disturbing, though they reflected the Symbolist's inner turbulence stemming
from his mother and sister’s death, his father’s insanity and death, following
Munch’s own emotional breakdown allowing us, as patrons to view the visual
imagery of an artist’s soul.
_______________________________
Brad Hagarbome is a graduate student at STJ's
English program.
Notes
1.
Rheinhold Heller: “Munch, Edvard”
Grove Art Online.
Press. March 4, 2006. http://www.groveart.com
2. http://www.moma.org/exhibitions/2006/Munch.html
3. http://www.moma.org/exhibitions/2006/Munch.html
4.
Marit Lande: “The Life of Edvard Munch” <http://www.munch.museum>
5. Marit Lande: “The Life of Edvard Munch” <http://www.munch.museum>
6. Rheinhold Heller: “Munch, Edvard” Grove Art Online.
Press. March 4, 2006. http://www.groveart.com
7.
Rheinhold Heller: “Munch, Edvard”
Grove Art Online.
Press. March 4, 2006. http://www.groveart.com
8.
Rheinhold Heller: “Munch, Edvard”
Grove Art Online.
Press. March 4, 2006. http://www.groveart.com
9.
Rheinhold Heller: “Munch, Edvard”
Grove Art Online.
Press. March 4, 2006. http://www.groveart.com
10. Arne Eggum: “Munch, Edvard” Grove Art Online.
March 4, 2006. http://www.groveart.com
11. Rheinhold
Heller: “Munch, Edvard” Grove Art Online.
March 4, 2006. http://www.groveart.com
12. Arne Eggum: “Munch, Edvard” Grove Art Online.
March 4, 2006. http://www.groveart.com
13. http://www.artcyclopedia.com/history/symbolism.html
14. Marit Lande: “The Life of Edvard Munch” http://www.munch.museum
15. Marit Lande: “The Life of Edvard Munch” http://www.munch.museum
16. Munch, Edvard" A Dictionary of Twentieth-Century Art. Ian
Chilvers.
University Press.
http://www.oxfordreference.com
17. Arne Eggum: “Munch, Edvard” Grove Art Online.
March 4, 2006. http://www.groveart.com
18. Arne Eggum: “Munch, Edvard” Grove Art Online.
March 4, 2006. http://www.groveart.com
19. Munch
Edvard (1863 - 1944). A Biographical Dictionary of Artists,
Andromeda (1995). Retrieved 05 March
2006, from xreferplus.
20. Munch
Edvard (1863 - 1944). A Biographical Dictionary of Artists,
Andromeda (1995). Retrieved 05 March
2006, from xreferplus.
21. Rheinhold Heller: “Munch, Edvard” Grove Art
Online.
Press. March 4, 2006. http://www.groveart.com
22. Rheinhold Heller: “Munch, Edvard” Grove Art
Online.
Press. March 4, 2006. http://www.groveart.com
23. Rheinhold Heller: “Munch, Edvard” Grove Art
Online.
Press. March 4, 2006. http://www.groveart.com
24. Rheinhold Heller: “Munch, Edvard” Grove Art
Online.
Press. March 4, 2006. http://www.groveart.com