Etches at an Exhibition

Edvard Munch, Love and Angst (British Museum)

img_7864This is a slice of Edvard Munch’s career — one of my top five favourite Norwegian artists — between about 1890 and 1910, which perhaps doesn’t make sense without knowing the rest of his career. For a start, there is a Norwegian habit of repeating the same motif in a way I’ve not seen with other artists other than Picasso. Munch has several paintings of Puberty or The Vampire, for example, and this raises questions about whether he is obsessively exploring a theme, seeking out the perfect version, displaying artistic unity or exploiting the design for maximum revenue. Or all of the above.

Continue reading →

Three Views of Karl Johans Gate

A couple of years ago I had about half an hour in the Rasmus Meyer Collection (aka KODE Three) to look at the Munchs. I knew The Scream, of course, which if memory serves is the painting destroyed in Do Androids Dream of Electric Sheep? (unless it was Melancholia) and of which I had an inflatable version. The collection — assembled by one of Munch’s first collectors — has a lithograph version, and it was great to see that. There were three other rooms, exclusively Munch.

Continue reading →

Trolling the Uncanny

IMG_2045.JPG

I seem to be constructing a history of Norwegian painting, in part because I’ve failed to find a decent book. In part this is so I can understand Edvard Munch and Nikolai Astrup’s better. There’s a list of names in Øystein Loge’s Nikolai Astrup: Betrothed to Nature I need to follow up, but it might be interesting to see what I can construct myself.

Continue reading →