{"id":431,"date":"2021-03-24T07:51:19","date_gmt":"2021-03-23T23:51:19","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=431"},"modified":"2021-03-22T11:55:35","modified_gmt":"2021-03-22T03:55:35","slug":"beyond-the-scream-how-edvard-munch-channeled-a-timeless-sense-of-dread","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/beyond-the-scream-how-edvard-munch-channeled-a-timeless-sense-of-dread\/","title":{"rendered":"BEYOND \u2018THE SCREAM\u2019: HOW EDVARD MUNCH CHANNELED A TIMELESS SENSE OF DREAD"},"content":{"rendered":"

The Scream<\/em>\u00a0is one of the most recognizable\u2014and one of the most parodied\u2014artworks in history, and because of its outsized reputation, it\u2019s now considered\u00a0Edvard Munch<\/a>\u2019s masterpiece. But Munch himself never considered it his magnus opus. He finished the first version of\u00a0The Scream<\/em>\u00a0in 1893, and his career stretched on for 50 years afterward.<\/p>\n

The raw nerves glimpsed in\u00a0The Scream<\/em>\u00a0make it an outlier in Munch\u2019s oeuvre\u2014most of his works accept mortality with a grim resolve. Part of their power lies in the tension between the violent strokes and mournfulness of his subjects. A dread surrounding modern life suffuses Munch\u2019s work\u2014and explains the resilience of its appeal. Our present little resembles his own, but the sense of isolation, regret, and decline in his work is timeless.<\/p>\n

\u201cIn my art I attempt to explain life and its meaning to myself,\u201d Munch wrote of his creative mission. It\u2019s a useful frame to interpret his artwork: not records of life as it was, but as it felt to live.<\/p>\n

The Early Years<\/strong><\/p>\n

\u201cI learned early about the misery and dangers of life, and about the afterlife, about the external punishment which awaited the children of sin in Hell,\u201d he once wrote. By his own accounts, Munch did not have a happy childhood, and he returned to its most traumatic events often in painting. He was born in 1863 in a farmhouse in a village in Norway. His mother died of tuberculosis, which also claimed his favorite sister, Sophie, as a teen.<\/p>\n

He and his surviving siblings were raised by his aunt and father in Oslo in a household ruled by his father\u2019s \u201cobsessive\u201d piety. As a young boy, he suffered from asthmatic bronchitis and was often kept home from school, entertaining himself with the ghost stories of Edgar Allen Poe, whose Romantic writings underline Munch\u2019s own macabre preoccupations. The specter of mental illness was always near in Munch\u2019s art, as it was in his own life\u2014his older sister, Laura, was institutionalized for depression.<\/p>\n

He enrolled in 1881 at the Royal School of Art and Design of Kristiania (now Oslo). Munch displayed an early aptitude for figure drawing, and in 1883 took part in his first public exhibition. The featured work, a full-length portrait of local bohemian Karl Jensen-Hjell, was decried by critics, who called it \u201cimpressionism carried to the extreme\u201d and a \u201ctravesty of art.\u201d This marked the beginning of a contentious relationship between Munch and his countrymen, whose approval he both spurred and craved. He found kinship in the company of Hans J\u00e6ger, a Norwegian anarchist, whose nihilistic outlook complimented Munch\u2019s own growing pessimism. He instructed the young artist to \u201cwrite his life,\u201d spurring a period of self-examination.<\/p>\n

 <\/p>\n

\n
\n
\n
\"Edvard<\/div>\n<\/div>
Edvard Munch,\u00a0The Sick Child,\u00a0<\/em>1907.<\/span>NICK ANSELL\/PA WIRE URN:42220258 (PRESS ASSOCIATION VIA AP IMAGES)<\/cite><\/figcaption><\/figure>\n<\/div>\n

Among the Impressionists<\/strong><\/p>\n

Munch arrived in Paris in 1885 to study in the studio of L\u00e9on Bonnat, who taught Henri de Toulouse-Lautrec, Gustave Caillebotte, John Singer Sargent, and other major figures of the era. He found Bonnat\u2019s drawing lessons \u201cnumbing,\u201d but the experience exposed him to Claude Monet, Paul Gauguin, and others. Munch once wrote that he appreciated the latter\u2019s art for its glorious \u201creaction against realism.\u201d The use of color by Monet, Gauguin, and other Impressionists and Post-Impressionists signified emotion in expressive ways, and for Munch, that was an inspiration, even if their comparatively light-hearted subject matter differed from his own.<\/p>\n

At this time, Munch began six paintings and lithographs based on Sophie\u2019s death titled\u00a0The Sick Child<\/em>. They depict his sister on her deathbed, her face pallid and haunted as she clutches the hands of grief-stricken woman, likely their aunt Karen, whose eyes are averted in despair. The rough, vertical brushstrokes in the paintings lend a hazy veil, as though they are being seen during a dream. Munch deemed this the first \u201csoul painting\u201d in his oeuvre, and it marked a definitive shift toward a mode that would come to be known as Symbolism, which relied on form, color, and composition to offer an emotionally driven break with reality.<\/p>\n

Munch wrote of the experience: \u201cI started as an Impressionist, but during the violent mental and vital convulsions of the Boh\u00eame period Impressionism gave me insufficient expression\u2014I had to find an expression for what stirred my mind \u2026 The first break with Impressionism was the Sick Child\u2014I was looking for expression.\u201d<\/p>\n

The scene would repeat itself in\u00a0Death in the Sickroom\u00a0<\/em>(1893) and the masterful\u00a0Love and Pain<\/em>\u00a0(1895), later retitled\u00a0Vampire<\/em>\u00a0by its viewers. In the latter work, a red-haired woman comforts an anguished man in her embrace. She bends to kiss his neck or lay her head on his shoulder. Compared to\u00a0The Sick Child<\/em>, where the people shown are still depicted in a manner that resembles life itself, the figures in\u00a0Death in the Sickroom\u00a0<\/em>and\u00a0Love and Pain<\/em>\u00a0are simplified, and their faces are deformed, crowded by claustrophobic brushstrokes.<\/p>\n

\n
\n
\n
\"Edvard<\/div>\n<\/div>
Edvard Munch,\u00a0Love and Pain<\/em>, 1895.<\/span>VIA WIKIMEDIA COMMONS<\/cite><\/figcaption><\/figure>\n<\/div>\n

The Berlin Years<\/strong><\/p>\n

The Norwegian art establishment, with its affinity for naturalism, reviled Munch\u2019s early work. But in Germany, where he lived from 1892 to 1908, Munch carved out an international career. After his solo show in Berlin in 1892 was shuttered by conservatives, he cannily leveraged the controversy\u2014which became known as the \u201cMunch affair\u201d\u2014into invaluable publicity.<\/p>\n

By then, Munch\u2019s style had almost fully matured. The realist backdrops of works like\u00a0Melancholy<\/em>\u00a0(1891) were eschewed for a shallow, purely emotive space. \u201cNo longer should interiors be painted, people reading and women knitting,\u201d he wrote, \u201cthere would be living people, breathing and feeling, suffering and loving.\u201d\u00a0Madonna<\/em>\u00a0(1894), a portrait of famous muse Dagny Juel-Przybyszewska, illustrates the aesthetic he now preferred. A subversive portrayal of the Virgin Mary, she either rises above or lays beneath the viewer, eyes shut in ecstasy. All around her is a void-like space filled with curving blue and black forms.<\/p>\n

\n
\n
\n
\""Madonna"<\/div>\n<\/div>

\nEdvard Munch<\/a>,\u00a0Madonna<\/em><\/a>, 1894.<\/span>(AP FOTO\/SCANPIX NORWAY, STIAN LYSBERG SOLUM, ARCHIVO)<\/cite><\/figcaption><\/figure>\n<\/div>\n

While in Berlin, Munch created some of his best-known works, including\u00a0The Scream<\/em>, which he first painted in 1893. (The Scream<\/em>\u00a0exists in several versions; its two most famous ones reside at the National Gallery in Oslo and the collection of Leon Black, who put his painting on loan to the Museum of Modern Art.) Munch had a devoted following among the liberated German and Austrian painters, who found in the older artist a model for the burdening movement that became Expressionism.<\/p>\n

Egon Schiele, Erich Heckel, Ernst Ludwig Kirchner, and Max Beckmann were among those who embraced Munch\u2019s physic stew of sexual yearning, occult fascination, and self-reproach. Schiele\u2019s self-portraiture, filled as it is with swollen-looking models, is indebted to Munch\u2019s own obsession with intense scrutiny. Some of these artists went one step further, paying direct homage to Munch. In one 1917 woodcut, Heckel, a veteran of the army medical corps, transforms Munch\u2019s screamer into a stunned figure standing amid a battlefield. The piece alludes to Munch\u2019s own passion for woodcutting, which he honed while in Germany. While in the country, he innovated a technique that involved cutting up blocks, coloring the pieces, and fusing them back together with an emphasis on the natural grain of the wood.<\/p>\n

\n
\n
\n
\"What<\/div>\n<\/div>
The Sun<\/em>\u00a0(1910-1911).<\/span>COURTESY THE MUNCH MUSEUM, OSLO<\/cite><\/figcaption><\/figure>\n<\/div>\n

The Midnight\u00a0Sun<\/em><\/strong><\/p>\n

Amid all this, Munch suffered from depression. That plus a period of heavy drinking led the artist to have a nervous breakdown in 1908. He was institutionalized in Copenhagen for eight months, a period which considerably stabilized his mood. He returned to Norway the following year and took up landscapes with a preference for warm colors and loose brushwork.<\/p>\n

In 1911 he completed one of his greatest achievements, the powerful mural\u00a0The Sun<\/em>, one of 11 paintings commissioned for Oslo University\u2019s ceremonial assembly hall. Sunbeams burst from behind rocky Norwegian mountains, radiating toward the panel\u2019s outer edges. The painting was meant to embody the values of vitalism, a school of thought that emphasized the ideal human as one healthy, strong, and one with nature. The writings of the writings of German philosopher Frederick Nietzsche held sway for vitalism\u2019s purveyors, and Munch admired him so much that he even painted a posthumous portrait of him.<\/p>\n

\n
\n
\n
\"Self<\/div>\n<\/div>
Self Portrait: Between the Clock and the Bed<\/em>\u00a0at the Met Breuer. In the background is\u00a0Self Portrait With Cigarette.<\/em><\/span>JOHANNES SCHMITT-TEGGE\/PICTURE-ALLIANCE\/DPA\/AP IMAGES<\/cite><\/figcaption><\/figure>\n<\/div>\n

Artist as Subject<\/strong><\/p>\n

Despite the newfound levity of his painting, Munch never shook his obsession with his own mortality. Until his death in 1944, he continued to chronicle the ugliness of his aging. The startled, dapper young man in\u00a0Self Portrait With Cigarette\u00a0<\/em>(1895) transforms soon after into the half-human creature of\u00a0Self-Portrait in Hell<\/em>\u00a0(1903), in which Munch shows himself naked amid flames. His face appears mottled beneath a series of brown strokes, but he shows no sign that he is afraid, even despite his hellish setting.<\/p>\n

Almost two decades later, Munch depicted himself as a phantom in\u00a0The Night Wanderer<\/em>\u00a0(1924), where he is drawn in shadow with two black pits for eyes. Such a sensibility is also evident in his photographic self-portraits. Munch believed that painting would always be superior to photography, but he relied on the medium anyway to show his nude body on beaches, as though he were a pale creature washed ashore.<\/p>\n

A 2017 exhibition at the Met Breuer in New York took its name from one of his final works,\u00a0Self-Portrait: Between the Clock and the Bed<\/em>\u00a0(1940\u201343). Shrunken and stiff as a corpse, Munch presents himself without pretension. In the painting, a grandfather clock is beside him\u2014time is running out. Behind Munch hangs his a group of paintings that stands in for the full of his oeuvre. Before him is a tidy bed. It\u2019s the sort of painting only an artist at the end of his career can make: he\u2019s a tired man, and he\u2019s ready for a rest.<\/p>\n

 <\/p>\n

 <\/p>\n

Source:https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

The Scream\u00a0is one of the most recognizable\u2014and one of the most parodied\u2014artworks in history, and because of its outsized reputation, it\u2019s now considered\u00a0Edvard Munch\u2019s masterpiece. But Munch himself never considered it his magnus opus. He finished the first version of\u00a0The Scream\u00a0in 1893, and his career stretched on for 50 years afterward. The raw nerves glimpsed […]<\/p>\n","protected":false},"author":2,"featured_media":432,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[82],"class_list":{"0":"post-431","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news","12":"tag-edvard-munch"},"yoast_head":"\nBEYOND \u2018THE SCREAM\u2019: HOW EDVARD MUNCH CHANNELED A TIMELESS SENSE OF DREAD - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"The Scream\u00a0is one of the most recognizable\u2014and one of the most parodied\u2014artworks in history, and because of its outsized reputation, it\u2019s now considered\u00a0Edvard Munch\u2019s masterpiece.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/beyond-the-scream-how-edvard-munch-channeled-a-timeless-sense-of-dread\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BEYOND \u2018THE SCREAM\u2019: HOW EDVARD MUNCH CHANNELED A TIMELESS SENSE OF DREAD - 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