Happy Thanksgiving!
Edvard Munch: Turkeys, 1913. Oil on canvas, 75 x 98 cm.#edvardmunch #themunchmuseum #thanksgiving
HAPPY BIRTHDAY EDVARD MUNCH! Born this day in 1863http://ow.ly/FMOFZ
Happy birthday to Edvard Munch, born on this day in 1863. Munch's art represented his own emotions, mostly the darker ones of fear, dread, loneliness, and sexual longing, with extraordinary expressiveness.
Happy birthday to Edvard Munch, born on this day in 1863. Munch's art represented his own emotions, mostly the darker ones of fear, dread, loneliness, and sexual longing, with extraordinary expressiveness.
Edvard Munch, born today in 1863, painted "The Storm" the same year as "The Scream." http://bit.ly/1z0UXl0
[Edvard Munch. "The Storm." 1893]
![Edvard Munch, born today in 1863, painted "The Storm" the same year as "The Scream." http://bit.ly/1z0UXl0
[Edvard Munch. "The Storm." 1893]](https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xap1/t31.0-8/q86/s720x720/10687368_10153669656452281_5659466252804507450_o.jpg)
Edvard Munch at the Tate Modern
A modern man
Sep 5th 2012, 19:29 by S.P.
Munch lived fast but he did not die young, not until the age of 80 in 1944. He survived “The Scream”, his most famous work, by some fifty years. What did he do with that time? Like David Hockney, he continued over a long life to be interested in, and to incorporate, new ideas and technologies into his art. Mr Hockney uses the Polaroid, the photocopier and the iPad; Munch used new cameras, X-ray and the scientific and philosophical ideas contained in the books in his extensive library. Nietzsche and Dostoyevsky are obvious influences but the large number of books on mathematics and science are more surprising. His collection included a well-thumbed 1919 edition of Einstein’s “Theory of Relativity”.
The first room in the exhibition consists of self-portraits seen through different “modern eyes”, including the still and film cameras. Munch bought his first camera in 1902. Its slightly wide-angle lens resulted in foreshortening, exaggerated perspective and interesting areas of deliberate blurring, features he adopted in “Fresh Snow in the Avenue” (pictured above), “On the Operating Table” and “Galloping Horse”, all completed within a decade of the purchase.
The camera also allowed him to take self-portraits from angles otherwise impossible to paint—a painter can see only so much in a mirror. His first camera had no shutter release so he had to photograph himself at arm’s length and move to press the button. This resulted in ghosting: his body appearing transparent through the background. He was already interested in Spiritualist photographs, though he scoffed at Spiritualism itself. Spirit photographs used multiple exposures to produce transparent “ghosts”. Munch used the same technique to merge two subjects together, seen in the “Fatal Destiny” series in this exhibition. Often, one subject is himself and the other is one of his own artworks, raising the intriguing question of the overlaps between art and artist.
Munch was in Paris when X–rays were discovered around 1895. People held X-ray parties: in the blue glow of the rays, jewels became incandescent and actors performed skeleton dances. At street booths, you could have your X-ray portrait taken through a block of wood, so you could see both your own bones and the pattern of the wood grain. Munch responded to X-rays in two ways. In 1895, he produced “Self-portrait with Skeleton Arm”, a lithograph showing his fully-fleshed face over the skeleton bones of his arm resting, as it were, along the base of the picture frame. And in his woodcuts, such as “The Kiss”, he left the woodblock deliberately unprimed so that the knots and striations became part of the finished picture.
In 1911, one of Munch’s close friends started a cinema in Oslo. Munch enjoyed taking his dogs along to watch the films. He bought a film camera in 1927 and some of what he shot is shown at the exhibition along with material from contemporary magazines and newspapers. This is designed to support the idea that his “modern eye” was heavily influenced in the 20th century by press photographs and moving images. This is true but only up to a point. Transparency, layered composition, exaggerated foreshortening, distortion and close-up heads feature in his earlier work too. See the bathing figure paintings of 1887–89 for example, or “Jealousy” from 1895.
Munch lost his vision in his right eye as a result of a hemorrhage in 1930. As his sight returned, he painted a meticulous record of what he could see. At first, only blurry circles. Then normal vision around the edges of a huge blood clot which shrinks and eventually disappears. They are a testament to the artist’s courage as his fear of losing his sight vies with his interest in recording vision through a damaged eye.
Nobody but Rembrandt did such magnificent late self-portraits as Munch, and the last room unflinchingly records his decline towards death. Munch said he always smelled decaying flesh when he looked at “Self-portrait with Spanish Flu” from 1919. He was surprised other people could not smell it too. “Self-portrait with Bottles” shows him patently drunk and is painted with the double vision of the inebriated. The final, great “Self-portrait between Clock and Bed” (pictured) shows his old, shrunken frame standing to attention between the clock that will mark his passing and the bed in which he will die. It is unbearably moving.
This exhibition was at the Centre Pompidou in Paris last year, where huge boards telling the viewer what to think made it too didactic. Now, Nicholas Cullinan, the curator at the Tate Modern, has done a wonderful job in rearranging the pieces so they tell their own story. The thematic approach, which can seem to be an end in itself in some exhibitions, works well when so thoughtfully deployed.
“Edvard Munch: The Modern Eye” is at the Tate Modern until October 14th
2009.6
Edvard Munch 簡介：生命三相
『紐約時報』為周日的 Edvard Munch（1963-1944 ）特展寫篇介紹（Art Review ）：「Munch 遠不只一聲吶喊」（ Munch Was More Than a Scream），這當然影射其名畫（
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關於 Munch，有約35 年的神交。多年前在NHK看到日本為他製造的專集，印象深刻，
永和有本他的專集和北歐印的表現主義等。
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中文方面：
Arne Egum （1984）『蒙克』湖南美術出版社， 1989
這本根據挪威版翻譯，可惜其中的德文【傳主在柏林數年，
J. P. Hodin 著「孟克 Edvard Munch 」 朱紀蓉 譯，台北：遠流出版，1997，絕版
讀書報告以後再補。
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英文之簡介：
這回在 INTERNET上看他一部20 餘分鐘的畫作-生平介紹，是很難得的經驗：
Edvard Munch: The Frieze of Life
`We should no longer paint interiors with men reading and women knitting. We should paint living people who breathe, feel, suffer and love.' This manifesto, written in 1889 by the twenty-six-year-old Norwegian artist Edvard Munch, was implemented by him throughout the 1890s in major works on the universal themes of love, anxiety and death, linked in a `symphonic arrangement' he titled The Frieze of Life. Shot on location in Norway and from original paintings and graphic works, with commentary mainly drawn from Munch's own writings, this video explores the psychological and artistic origins and significance of some of the most arresting images in European art.
`We should no longer paint interiors with men reading and women knitting. We should paint living people who breathe, feel, suffer and love.' This manifesto, written in 1889 by the twenty-six-year-old Norwegian artist Edvard Munch, was implemented by him throughout the 1890s in major works on the universal themes of love, anxiety and death, linked in a `symphonic arrangement' he titled The Frieze of Life. Shot on location in Norway and from original paintings and graphic works, with commentary mainly drawn from Munch's own writings, this video explores the psychological and artistic origins and significance of some of the most arresting images in European art.
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The Frieze of Life themes recur throughout Munch's work, in paintings such as The Sick Child (1886, portrait of his deceased sister Sophie), Vampire (1893– 94), Ashes ( 1894), and The Bridge. The latter shows limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Munch portrayed women either as frail, innocent sufferers or as lurid, life-devouring vampires. Munch analysts say this reflects his sexual anxieties.
In December 1893, Unter den Linden in Berlin held an exhibition of Munch's work, showing, among other pieces, six paintings entitled Study for a Series: Love. This began a cycle he later called the Frieze of Life — A Poem about Life, Love and Death. Frieze of Life motifs are steeped in atmosphere such as The Storm, Moonlight and Starry Night. Other motifs illuminate the nocturnal side of love, such as Rose and Amelie and Vampire. In Death in the Sickroom ( 1893), he depicts his sister Sophie's death to illustrate the morbid theme. The dramatic focus of the painting, in which he portrays the entire family, is the Munch figure. In 1894, he enlarged the spectrum of motifs by adding Anxiety, Ashes, Madonna and Women in Three Stages .Around the turn of the century, Munch worked to finish the Frieze. He painted a number of pictures, several of them in larger format and to some extent featuring the art nouveau aesthetics of the time. He made a wooden frame with carved reliefs for the large painting Metabolism (1898), initially called Adam and Eve. This work reveals Munch's preoccupation with the "fall of man" myth in Munch's pessimistic philosophy of love. Motifs such as The Empty Cross and Golgota (both c. 1900) reflect a metaphysical orientation to the times, and also echo Munch's pietistic upbringing. The entire Frieze showed for the first time at the secessionist exhibition in Berlin in 1902.
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| "The Dance of Life" (1899-1900) |
Published: February 17, 2006
EDVARD MUNCH'S vision of modern angst, "The Scream," has been much in the news lately. The trial of six suspects in the theft of one version from an Oslo museum began this week; the painting has not been recovered. The image of "The Scream" has been so widely embraced and reproduced that if you hear the name Munch "The Scream" comes instantly to mind, and vice versa. Yet Munch (1863-1944) regarded "The Scream" as an aberration, one that cast the shadow of insanity on a body of art that he intended to address more universal aspects of human experience.
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"Self-Portrait With Cigarette," an Edvard Munch oil from 1895, in the Museum of Modern Art's new exhibition. More Photos >
 Munch Museum, Munch-Ellingsen Group/Artists Rights Society, New York |  | |
Munch Museum, Munch-Ellingsen Group/Artists Rights Society, New York
"Young Woman on the Beach (The Lonely One)" (1896) More Photos >
"Edvard Munch: The Modern Life of the Soul" opens Sunday and is on view through May 8 at the Museum of Modern Art, 11 West 53rd Street; (212) 708-9400. "Edvard Munch: Symbolism in Print" is on view through May 13 at Scandinavia House, 58 Park Avenue, near 38th Street, (212) 879-9779,.
Munch Museum, Munch-Ellingsen Group/Artists Rights Society, New York
"Man's Head in Woman's Hair" (1896) More Photos > "Edvard Munch: The Modern Life of the Soul," an affecting full-scale retrospective that opens Sunday at the Museum of Modern Art, presents this broader view. The first survey of the Norwegian painter in an American museum in almost 30 years, it was organized by Kynaston McShine, chief curator at large of the Modern. Its more than 130 oils and works on paper cover Munch's entire career, from 1880 to 1944. It also includes a large selection of the prints — many of them ingeniously adapted from his oils — that played an important role in his art.
"Mermaid," not seen publicly until 2003, is among the paintings. Munch's first decorative work, this sexy 3-by-11-foot canvas was commissioned in 1896 by the Norwegian industrialist and collector Axel Heiberg for his home. Taking a Symbolist approach to a traditional Nordic theme, Munch depicted a voluptuous mermaid emerging from a moonlit sea, her fin wrapped around the moon's reflection. Not real but somehow not quite a figment, she almost certainly relates to the moonlight strolls Munch took on the beach with his first lover.
"The Scream," although not the focus of the show, is not neglected. Two 1895 lithographs of the image, one with watercolor, are on view. An ectoplasmic being stands on a bridge against a lurid setting sun, hands to ears, mouth open to emit a horrendous howl. Its genesis, Munch wrote, was during a walk across a bridge in Kristiania (now Oslo) with two friends. He felt a "tinge of melancholy" as the sun set. He stopped, leaned against the railing while his friends walked on, and saw "the flaming clouds that hung like blood and a sword" over the water and the city. Shivering with fright, he "felt a loud, unending scream piercing nature."
It took several false starts before this became the trenchant visual expression of Munch's feeling, the product of his own anxiety and depression at the time. When he finally made the image we know today, he noted faintly on the probable first version (1893) that "it could only have been painted by a madman." But it strikes such a universal chord that it has become something of a conduit between the artist's soul-searching work and pop culture, evolving over the years into a symbol that these days appears even on refrigerator magnets and inflatable dolls.
And yet, for all its roots in Symbolism, the turn-of-the-century European movement that sought to replace naturalism with the imagery of fantasy, dream and psychic experience, "The Scream" apparently had little to do with what Munch saw as the real thrust of his art.
That took in such existential matters as birth, love, loss, emotional turmoil, the search for one's identity and the inevitable decline into death. In these paintings Munch struggled to render his own emotional and psychological traumas, including the deaths of his mother and older sister, as well as his doomed first real love affair, into universal images that resonated with the outside world. By so doing, he said, he hoped to "understand the meaning of life" and to help others gain similar insights.
More in line with his main themes are paintings like "Madonna" (1894-95), a powerfully erotic image of a nude seductress that conveys the artist's conflation of love and death, and a lithograph of the same subject whose lurid border depicts spermatozoa and a distorted fetus. "Madonna" is part of the cycle of paintings that Munch eventually named the "Frieze of Life," first exhibited under that rubric at the Berlin Secession of 1902. It encompassed what he saw as "the modern life of the soul."
A vital part of the exhibition is the extraordinary range of self-portraits Munch made, from youth to near death. He variously depicts himself as a searching, skeptical young man; a dandy and cosmopolitan; a dejected lover; a denizen of hell; Jesus on the Cross above a leering crowd; and a restless night wanderer in his own home. Finally, in the touching "Between the Clock and the Bed" (1940-2), he is a brave figure who stands in his bedroom, his studio behind him, a symbolic clock without hands to the left, as he resolutely confronts the certainty of his end.
Although his native Kristiania was a distance from the aesthetic ferment of the great European cities, Munch didn't remain a provincial for long. His local training inclined him toward Norwegian naturalism, but around 1884 he connected with Kristiania's bohemian set and began to form new attitudes. The next year, an affair with Milly Thaulow, the wife of a cousin of one of his art teachers, inflamed his love life but ended badly, an event that burned deeply into Munch's turbulent psyche. As with every other emotional event in his life, his troubles with women became a rich source of material. "It would kill me were my loneliness taken away from me," he wrote later to another lover, who sought more togetherness. Her spirit, he went on to tell her, was "totally undeveloped."
Finding naturalism too limited an artistic approach, Munch shared this observation in an 1885 letter to a writer friend: "Perhaps some other painter can depict chamber pots under a bed better than I can. But put a sensitive, suffering young girl into the bed, a girl consumptively beautiful with a blue-white skin turning yellow in the blue shadows — and her hands! Can you imagine them? Yes that would be a real accomplishment."
He produced a number of variations — in oils and graphic art — on this theme, haunting evocations of the dying days of his older sister, Sophie, felled at age 15 by tuberculosis, which had earlier killed their mother. In one of six versions on canvas, "The Sick Child" (1896), Sophie is depicted propped against a pillow, her head turned toward a female figure who sits beside her, head bowed, holding her hand. Sophie's thin yellow face has a feverish radiance; her expression already seems otherworldly.
An accompanying lithograph, made the same year in fervid tones of red and yellow, shows only Sophie's head and shoulders and is even more shattering. Here death has taken a firm grip on her features; her sunken eye, grimly set mouth and neglected hair against a background of disorderly cross-hatching show that the battle is all but lost. The work gives ample evidence of Munch's mastery of printmaking, which he probably learned during time spent in Paris and Berlin in the 1890's and early 1900's.
Fortunately, there are many more examples on view.
A whole gallery in the Modern's exhibition is devoted to Munch's prints, important among them fresh interpretations of his "Frieze" themes. And 25 more prints, lent by the Modern, are on display at Scandinavia House in an exhibition organized by Deborah Wye, chief curator of prints and illustrated books at the Modern.
Among the masterpieces at Scandinavia House is "Ashes II" (1899), a lithograph with watercolor additions adapted from a painting of 1894 that may be seen at the Modern. It depicts the end of a love affair, with the man in despair and the woman indifferent. The title "Ashes" refers to the burned-out log that runs along the picture's edge, signifying the death of love.
Also at Scandinavia House are two marvelous woodcuts, their themes now appearing only in print form. (The painting from which they were taken was lost in a shipwreck in 1901.) Each is titled "Two People: The Lonely Ones" (1899-1917). In the subtle coloration for which Munch was noted, they depict a man and a woman on the beach, standing near each other but with just enough separation to indicate their essential alienation.
To make his woodcuts, Munch invented a simplified process of jigsawing each compositional element of the printing block, inking each in the desired color, then fitting them back together and running the reconfigured puzzle through the press just once. This cut out the cumbersome process of using separate woodblocks for each color, which had necessitated putting the print through the press several times.
By the early 1900's, Munch was on his way to international success. He was finished with his "Frieze of Life" cycle, which now included the important (to him) "Metabolism" (1899), an earthy Adam and Eve-like depiction that shows a nude couple divided by a barren tree whose roots feed off a corpse. Its theme, he said, was the powerful constructive forces of life, but its murkiness is un-Munchian.
His work at this point began to take a more traditional turn, including portraits of friends and patrons and landscapes, whose naturalism was inflected by symbolic elements. But it is those haunting, penetrating "Frieze of Life" works that, by reaching deep into normally buried feelings, give Munch his greatness.
Edvard Munch: The Frieze of Life
`We should no longer paint interiors with men reading and women knitting. We should paint living people who breathe, feel, suffer and love.' This manifesto, written in 1889 by the twenty-six-year-old Norwegian artist Edvard Munch, was implemented by him throughout the 1890s in major works on the universal themes of love, anxiety and death, linked in a `symphonic arrangement' he titled The Frieze of Life. Shot on location in Norway and from original paintings and graphic works, with commentary mainly drawn from Munch's own writings, this video explores the psychological and artistic origins and significance of some of the most arresting images in European art.frieze2
━━ n. 【建】帯状装飾（壁）.━━ n. フリーズ ((厚地ラシャ)).. - 中楣, 帶狀裝飾
n. - 起絨粗呢
日本語 (Japanese)
n. - 小壁, 帯状装飾, 行列
v. - けばだてる
frieze
In the interior of a room, the frieze of a room is the section of wall above the picture rail under the crown moldings or cornice. By extension, a frieze is a long band of painted, sculpted or even written decoration in such a position, above eye-level. These decorations often depict scenes, in an almost storyboard or animated sequence.
An example of an architectural frieze on the facade of a buildind is the octagonal Tower of the Winds in the Roman agora at Athens, which bears sculptures of the eight winds on its frieze.
This concept has been generalized in the mathematical construction of Frieze patterns.
"Edvard Munch: The Modern Life of the Soul" opens Sunday and is on view through May 8 at the Museum of Modern Art, 11 West 53rd Street; (212) 708-9400. "Edvard Munch: Symbolism in Print" is on view through May 13 at Scandinavia House, 58 Park Avenue, near 38th Street, (212) 879-9779,.
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| Edvard Munch's "Ashes" (1894) 孟 克 《孟克》目錄 導論 1 童年及早期的學習過程 2 挪威風土 3 克里斯提尼亞的「波希米亞」 4 巴黎對孟克的影響 5 《生命之序》 6 柏林 7 重遊巴黎 8 寂寞的旅程----愛與死 9 不安的年代 10 危機與回鄉 11 奧斯陸大學的壁畫 12 回顧與前瞻 13 孟克的版畫作品 14 孟克的創作風格與技法 終曲 圖片說明 參考書目 譯名索引 導 論 在了解孟克（Edvard Munch）的創作以及其對整個時代的意義之前， 面對人生的錯綜複雜，藝術家常被認為是最敏感者。 術在這個時代的根源。要從這種虛無的狀態中回復過去是否可能， 那麼， 柯克西卡（Oskar Kokoschka）這位孟克的表現主義（ 「為藝術而藝術」的教條， 音出現，對此點做另外的反應。 孟克創造了可稱為「精神氣氛」（spiritual climate）的東西。後二代、甚至三代的藝術家創作， 表現主義的藝術家認為藉由冷靜的理性方式創造出的任何事物， 表現主義的藝術家並留意心理學家容格（Carl Gustav Jung）所說的原型想像，也就是說，他所表現的集體潛意識， 事實上，表現主義出現在極具張力的時代中， |
http://en.wikipedia.org/wiki/Frieze
frieze
IN BRIEF: A band of designs, drawings, or carvings used as a decoration along a wall or around a room.
The beautifully carved frieze in the rotunda depicted acts of bravery and good deeds. Tutor's tip: The "frieze" (a sculptured or patterned strip on a building) on the building depicts a hero as he "frees" (to release) a child from the ice, only to "freeze" (to turn to ice) to death in the bitter cold himself.
n. - 起絨粗呢
2.
n. - 中楣, 帶狀裝飾
日本語 (Japanese)
n. - 小壁, 帯状装飾, 行列
v. - けばだてる
フリーズとは建築用語で、エンタブラチュアの中央の、幅広い部分を指す。 簡素なものもあれば、イオニア式、コリント式のレリーフで装飾されているものもある。 円柱の壁ではフリーズの位置は、アーキトレーブより上、コーニスのモールディングより下部になる。
内装ではフリーズは、ピクチャーレールより上、冠モールディングやコーニスより下の壁部分を指す。 広義では、フリーズは絵画や彫刻、カリグラフィー等で装飾された、横に伸びた部分を言い、上記の位置か、通常は目線より上に位置する。 フリーズの装飾は、支柱によりいくつかのパネルに分かれて、連続した場面を表していることもある。 こういった装飾は、漆喰や木彫その他の装飾形式による。
パルヴィノ（pulvino）は、断面図では凸部になる。 こういったフリーズは17世紀、北部マニエリスムによく見られ、特に補助的なフリーズや、内装、家具などに多い。
フリーズの概念は、フリーゼパターンの数学的作図において一般化した。
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