Edvard Munch

ROUTES TO RUSSIA. PICTURES BY NORWEGIAN ARTISTS IN RUSSIAN PRIVATE AND MUSEUM COLLECTIONS

Anna Poznanskaya

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

The interest in Norwegian painting arose in Russia at the end of the 19th century. Painting in Norway and Russia of this period has some similar features that can been seen in both the works of individual artists and artistic groups. Such distinctive features developed and co-existed as part of general trends taking places in European art at that time.

ROUTES TO RUSSIA. PICTURES BY NORWEGIAN ARTISTS IN RUSSIAN PRIVATE AND MUSEUM COLLECTIONS

The interest in Norwegian painting arose in Russia at the end of the 19th century. Painting in Norway and Russia of this period has some similar features that can been seen in both the works of individual artists and artistic groups. Such distinctive features developed and co-existed as part of general trends taking places in European art at that time.

EMANUEL VIGELAND AND THE "TOMBA EMMANUELLE"

Seung Hae Yu

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

Emanuel Vigeland (1875-1948) was a renowned norwegian artist, especially famous for his stained glass works and fresco paintings. The versatility of his talent was manifested in the variety of materials he worked with to create an extensive collection of artwork. however, emanuel is often overshadowed by his better known brother Gustav Vigeland and by Edvard Munch, another great artist of the same period.

EMANUEL VIGELAND AND THE "TOMBA EMMANUELLE"

Emanuel Vigeland (1875-1948) was a renowned norwegian artist, especially famous for his stained glass works and fresco paintings. The versatility of his talent was manifested in the variety of materials he worked with to create an extensive collection of artwork. however, emanuel is often overshadowed by his better known brother Gustav Vigeland and by Edvard Munch, another great artist of the same period.

GUSTAV VIGELAND. THE MAN BEHIND THE VIGELAND PARK

Jarle Strømodden

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

Gustav Vigeland (1869-1943) is perhaps the best known Norwegian sculptor, a fame confirmed by the Vigeland Park in Oslo. This area, measuring about 340 acres and mainly designed and shaped by Vigeland, has more than 200 of his sculptures, and since its completion in the 1950s been very popular, both with locals and with tourists. Despite this, Vigeland has never made a particular impact on Norwegian sculpture - he is not like one of his famous contemporaries, the painter Edvard Munch (1863-1944). Vigeland had a modest upbringing, went through a struggling period as a student and in his early career, but ended up as an acclaimed sculptor.

GUSTAV VIGELAND. THE MAN BEHIND THE VIGELAND PARK

Gustav Vigeland (1869-1943) is perhaps the best known Norwegian sculptor, a fame confirmed by the Vigeland Park in Oslo. This area, measuring about 340 acres and mainly designed and shaped by Vigeland, has more than 200 of his sculptures, and since its completion in the 1950s been very popular, both with locals and with tourists. Despite this, Vigeland has never made a particular impact on Norwegian sculpture - he is not like one of his famous contemporaries, the painter Edvard Munch (1863-1944).

FOLLOWING THE SUN. PIONEERING ART IN THE DECORATION OF PUBLIC SPACES

Petra Pettersen

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

As part of Kristiania's Royal Frederik University's centenary celebrations in 1911, a new festival hall - the Aula - was planned as the artistic and symbolic highlight of the jubilee. Separated from its union with Sweden in 1905, Norway had become a sovereign state, and the young country had a desire to proclaim its national status. The decoration of the Aula's eleven wall panels was included in the plan for the university's centennial celebration in September 1911. Edvard Munch entered the competition to decorate the Aula in spring 1909 and his draft was accepted for further development in March 1910, along with proposals made by the artist Emanuel Vigeland.

FOLLOWING THE SUN. PIONEERING ART IN THE DECORATION OF PUBLIC SPACES

As part of Kristiania's1 Royal Frederik University's centenary celebrations in 1911, a new festival hall - the Aula - was planned as the artistic and symbolic highlight of the jubilee. Separated from its union with Sweden in 1905, Norway had become a sovereign state, and the young country had a desire to proclaim its national status. The decoration of the Aula's eleven wall panels was included in the plan for the university's centennial celebration in September 1911.

EDVARD MUNCH “…THE SUN WAS SETTING”

Frank Høifødt

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

EDVARD MUNCH’S ICONIC IMAGE OF MODERN MAN “THE SCREAM”– THE BEST-KNOWN PICTURE IN THE WORLD AND THE SEMINAL WORK OF EXPRESSIONISM – CAPTURES THE VULNERABILITY AND TRAGIC ASPECT OF HUMAN EXISTENCE.

EDVARD MUNCH “…THE SUN WAS SETTING”

EDVARD MUNICH'S ICONIC IMAGE OF MODERN MAN "THE SCREAM"-THE BEST-KNOWN PICTURE IN THE WORLD AND THE SEMINAL WORK OF EXPRESSIONISM - CAPTURES THE VULNERABILITY AND TRAGIC
ASPECT OF HUMAN EXISTENCE.

Edvard Munch "...The Sun Was Setting"

Frank Høifødt

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#2 2013 (39)

EDVARD MUNCH'S ICONIC IMAGE OF MODERN MAN "THE SCREAM" - THE BEST-KNOWN PICTURE IN THE WORLD AND THE SEMINAL WORK OF EXPRESSIONISM - CAPTURES THE VULNERABILITY AND TRAGIC ASPECT OF HUMAN EXISTENCE. INDEBTED TO VINCENT VAN GOGH AND PAUL GAUGUIN, MUNCH (1863-1944) SEARCHED FOR A NEW ART OF DEPTH AND AUTHENTICITY. TODAY, "THE SCREAM" HAS BECOME AN UBIQUITOUS IMAGE OF POPULAR CULTURE, SIMULTANEOUSLY "APPROPRIATED" BY AN IRONIC POSTMODERNITY. BOTH EXTREMES SEEM RELEVANT IN UNDERSTANDING THE CONTEXT OF THE SPECTACULAR PRICE OF $120 MILLION THAT WAS PAID FOR A PASTEL VERSION OF THE IMAGE IN SPRING 2012. THE FAME OF "THE SCREAM" HAS COME TO EXCEED THE FAME OF THE ARTIST: THIS DISCREPANCY SEEMS TO BE DIMINISHING, HOWEVER, AS LARGE INTERNATIONAL EXHIBITIONS MAKE VIEWERS MORE FAMILIAR WITH THE BROADER ASPECTS OF MUNCH'S ART AND LEGACY. CELEBRATING THE 150TH ANNIVERSARY OF THE ARTIST'S BIRTH, THE MUNCH MUSEUM AND THE NATIONAL GALLERY IN OSLO GIVE A VAST, JOINT PRESENTATION OF THE ARTIST'S WORK THIS SUMMER AND AUTUMN.

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EDVARD MUNCH'S ICONIC IMAGE OF MODERN MAN "THE SCREAM" - THE BEST-KNOWN PICTURE IN THE WORLD AND THE SEMINAL WORK OF EXPRESSIONISM - CAPTURES THE VULNERABILITY AND TRAGIC ASPECT OF HUMAN EXISTENCE. INDEBTED TO VINCENT VAN GOGH AND PAUL GAUGUIN, MUNCH (1863-1944) SEARCHED FOR A NEW ART OF DEPTH AND AUTHENTICITY. TODAY, "THE SCREAM" HAS BECOME AN UBIQUITOUS IMAGE OF POPULAR CULTURE, SIMULTANEOUSLY "APPROPRIATED" BY AN IRONIC POSTMODERNITY.

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