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Munch and the female nude
No full textreservedL’elaborato ha l'obiettivo di trattare l’artista Edvard Munch e il nudo femminile.
Edvard Munch, autore norvegese conosciuto principalmente per l’opera L’urlo (1893), ora icona dell’arte contemporanea, realizzò numerose opere che hanno per soggetto il nudo femminile. Molte di queste opere erano in dedica alle donne che avevano influenzato la sua vita, a cominciare dalla madre Laura, morta di tubercolosi quando il giovane aveva solo 5 anni, e dalle sorelle Karen e Sofie, anche lei morta di tubercolosi.
Attraverso questo studio si vuole analizzare non solo l’aspetto artistico delle opere, la loro struttura e le caratteristiche che le identificano come produzioni del maestro norvegese, ma anche la prospettiva legata alla psicologia che lega le figure femminili e il pittore con il movimento artistico dell’Espressionismo.
Le premesse sono quelle di studiare il legame tra le emozioni delle donne rappresentate e il modello espressivo dell’autore, partendo dall’opera La pubertà (del 1894-1895) per poi fare un excursus di ordine cronologico per evidenziare l’evoluzione artistica sia dal punto di vista stilistico che dal punto di vista iconografico.
Si vuole approfondire, tramite l’analisi delle opere, il carattere psicologico ed emotivo dei soggetti raffigurati, che l’autore riesce a trasmettere con forza e partecipazione
Faust : et digt / af Nicolaus Lenau. Overs. ved A. Munch
No full textFAUST : ET DIGT / AF NICOLAUS LENAU. OVERS. VED A. MUNCH
Faust : et digt / af Nicolaus Lenau. Overs. ved A. Munch (1)
Cover (1)
Title page (5)
Titelseite (7)
Nikolaus Lenau (9)
Forord. (20)
Lenau's Faust. (24)
Morgenvandringen (26)
Besoget. (30)
Forskrivningen. (42)
Ungdommsvenen. (63)
Djaevelen. (76)
Dandsen. (79)
Den stakkels lille Praest. (86)
Smedien. (94)
Det natlige Tog. (117)
Indsoen. (122)
Maria. (126)
Maleren. (129)
Advarslen. (133)
Mordet. (136)
Aftenvandringen. (148)
Afskeden. (163)
Samtalen i Skoven. (168)
Reisen. (177)
Drommen. (191)
Stormen. (203)
Gorg. (213)
Faust's Dod. (235)
Inhold. (246)
Trykfjel. (248
Grimm, Wilhelm an A[ndreas] P[eter] Munch (1 Brief)
No full textGRIMM, WILHELM AN A[NDREAS] P[ETER] MUNCH (1 BRIEF)
Grimm, Wilhelm an A[ndreas] P[eter] Munch (1 Brief) (Br6088,6089)
Brief 6089 (Br6088,6089
Munch, P[eter] A[ndreas] an Wilhelm Grimm (1 Brief)
No full textMUNCH, P[ETER] A[NDREAS] AN WILHELM GRIMM (1 BRIEF)
Munch, P[eter] A[ndreas] an Wilhelm Grimm (1 Brief) (Br6088)
Brief 6088 (Br6088
Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch
No full textThis paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche
Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life
No full textAmong Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play
Stormy Night
No full textThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 44
Munch painted The Storm in Aasgaardstrand, a small Norwegian seaside resort where he often stayed. There had indeed been a violent storm there that summer, but the painting does not appear to show it, or even its physical aftermath; the storm here is an inner one, a psychic distress. Standing near the water, in an eerie blue half-light, half-dark Scandi-navian summer night, a young woman clasps her hands to her head. Other women, standing apart from her, make the same anguished gesture—to what end we are not sure. The circle in which they stand, and the protagonist's white dress, give to the scene the feeling of some ancient pagan ritual, even while the solid house in the background, its lit windows shining in the dark, suggests some more regular life from which these women are excluded—or perhaps that they find intolerable.
Munch's art suggests a transformation of personal memories and emotions into a realm of dream, myth, and enigma. His exposure to French Symbolist poetry during a stay in Paris had convinced him of the necessity for a more subjective art; there was no need, he said, for more paintings of "people who read and women who knit." Associated with the international development of Symbolism in the 1890s, he is also recognized as a precursor of Expressionism.full vie
Power, Elizabeth Munch. Interview about growing up in Windsor, her father Hermann Munch's cobbler/shoe shop, and memories of Main Street.
No full textOral history interview with Elizabeth Munch Power, conducted by Terra Barrett. Interview about growing up in Windsor, her parents meeting and moving to Canada, her father’s cobbler/shoe shop on Main Street, other businesses and owners on Main Street, social events in Windsor, and growing up in a multicultural family
Why Munch?
No full textWhy Munch? was a keynote lecture for the conference Marketing the North, sponsored by the society Munch, Markets and Modernism, in November 2017. In asking the question, the paper explores Munch\u27s canonical status, especially vis-a-vis other Scandinavian artists of his time. In particular, the essay addresses the evolving nature of artistic professionalism at the end of the 19th century, and how Munch\u27s personal and artistic behavior evoked a new definition of bohemianism that resonated deeply with the rise of European modernism and the post-1900 avant-gardes
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[Mark Munch]
No full textPhotograph of Mark Munch. Munch is dressed in a costume for the opera La bohème. He can be seen standing in front of a portrait of another person in the same La Bohème costume
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