Munch Cameo

Overview

Edward Munch (1863-1944) was the greatest artist to have come out of Scandinavia in modern times. After a youthful apprenticeship among the artists and intellectuals of Christiana in his native Norway, and after exposure to decisive innovations in Paris, his first major exhibition in Berlin in 1892 firmly established him as an original and controversial artist. His work soon came to exercise a crucial influence on the development of Expressionism, a movement that in altered forms is showing renewed vigor in ...
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0810946947 Brand NEW Hardcover with Dust Jacket, meticulously inspected, automatic 1st class upgrade for books under 14 ounces, packed securely, with care and extra padding, ... shipped promptly, we have quick responsive customer service, we also accept returns, and your purchase is satisfaction guaranteed, just email via contact seller link, if you have a question, or need a gift note with your personal message enclosed ~ we accept returns, and GUARANTEE YOUR SATISFACTION! Read more Show Less

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Overview

Edward Munch (1863-1944) was the greatest artist to have come out of Scandinavia in modern times. After a youthful apprenticeship among the artists and intellectuals of Christiana in his native Norway, and after exposure to decisive innovations in Paris, his first major exhibition in Berlin in 1892 firmly established him as an original and controversial artist. His work soon came to exercise a crucial influence on the development of Expressionism, a movement that in altered forms is showing renewed vigor in Europe today. Preoccupied throughout his long and prolific career with themes of death, love, and sex, Munch sought to give visual expression to the inner nature of man. He was unusually sensitive to emotional experiences, and his work speaks directly to our own innermost feelings. In an introductory essay and in commentaries that accompany the forty colorplates in the book, Thomas M. Messer, Director of the Solomon R. Guggenheim Foundation in New York, traces Munch's growth as an artist, placing him in the context of his times. He introduces the reader to the family scenes and familiar places that haunt Munch's art, and to the wider relationships - with writers, poets, and patrons - that nurtured Munch and sustained him in difficult times. Munch is justly considered to be a master of the graphic arts. Here, prints and drawings are reproduced side by side with paintings, underscoring the intensity with which Munch worked out his themes and ideas in different mediums. Through all these Munch projects the psychic realities of his time through forms and images of great power.
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Editorial Reviews

Library Journal
Russian painter Kasimir Malevich (1878-1935) is remembered primarily as the founder of the short-lived Suprematist movement in the 1920s. Yet his style varied quite a lot, tracing a curve from representation, followed by abstraction, and thence a return to the human figure. Similarly, Norwegian Edvard Munch (1863-1944) is so associated with his icon of angst, The Scream (1893), that his later, more painterly landscapes and portraits are often forgotten. Because these artists are best known for a small part of their output, these volumes, which review their entire careers, are particularly valuable. Textual matter is whittled to a minimum. Each volume contains just a pair of two-page essays: a terse biographical sketch followed by a succinct aesthetic commentary. As a result, these thin titles cannot be thought of as a source of anything but visual information, but they serve that purpose superbly. Their signature feature is the inclusion of numerous (60-70) high-quality color plates derived from every period in each artist's life. The 15th and 16th entries, respectively, in Abrams's excellent "Great Modern Masters" series, these books are identical in format to earlier titles focusing on such artists as Bacon, Chagall, Klee, and Matisse. The visual emphasis results in affordable supplements to better sources for biocritical information, like the Biographical Dictionary of Artists (Facts on File, 1995). Though not definitive, these two unique resources are highly recommended for all collections.Douglas F. Smith, Oakland P.L., Cal.
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Product Details

  • ISBN-13: 9780810946941
  • Publisher: Abrams, Harry N., Inc.
  • Publication date: 9/1/1996
  • Series: Great Modern Masters Series
  • Pages: 64
  • Product dimensions: 9.75 (w) x 12.25 (h) x 0.62 (d)

Table of Contents

Edvard Munch 7
Commentary to the Frontispiece: Self-Portrait Beneath the Mask 39
Biographical Outline 41
Selected Bibliography 45
Colorplate 1. Portrait of the Artist's Sister Inger 49
Colorplate 2. The Sick Child 51
Colorplate 3. Spring 53
Colorplate 4. Military Band on Karl Johan Street, Oslo 55
Colorplate 5. Rue Lafayette 57
Colorplate 6. Spring Day on Karl Johan Street, Oslo 59
Colorplate 7. Inger Munch 61
Colorplate 8. Chamber of Death 63
Colorplate 9. Evening on Karl Johan Street 65
Colorplate 10. Death and the Maiden 67
Colorplate 11. Puberty 69
Colorplate 12. Moonlight 71
Colorplate 13. The Scream 73
Colorplate 14. The Voice 75
Colorplate 15. Starry Night 77
Colorplate 16. Madonna 79
Colorplate 17. Anxiety 81
Colorplate 18. Jealousy 83
Colorplate 19. Self-Portrait 85
Colorplate 20. Woman in Three Stages 87
Colorplate 21. Mother and Daughter 89
Colorplate 22. The Red Vine 91
Colorplate 23. Girls on the Jetty 93
Colorplate 24. The Dance of Life 95
Colorplate 25. Fertility 97
Colorplate 26. Four Sons of Max Linde 99
Colorplate 27. Dance on the Shore 101
Colorplate 28. Village Street 103
Colorplate 29. Self-Portrait with a Wine Bottle 105
Colorplate 30. Amor and Psyche 107
Colorplate 31. Portrait of Dr. Daniel Jacobson 109
Colorplate 32. Self-Portrait in a Blue Suit 111
Colorplate 33. The Sun 113
Colorplate 34. Winter, Kragero 115
Colorplate 35. Galloping Horse 117
Colorplate 36. Workmen on their Way Home 119
Colorplate 37. Man in a Cabbage Field 121
Colorplate 38. Starry Night 123
Colorplate 39. Seated Model 125
Colorplate 40. "Between Clock and Bed" Self-Portrait 127
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