By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
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"My art is rooted in a single reflection: why am I not as others are? Why was there a curse on my cradle? Why did I come into the world without a choice?"
"I inherited two of mankind's most frightful enemies - the heritage of consumption and insanity."
"My art is a form of self-portraiture."
"The entire world is a picture of the mind."
"The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose."
Norwegian Expressionist painter whose The Scream (1893) became the iconic image of modern existential dread. Closely associated with James Ensor (Belgian Expressionist peer) and Egon Schiele (younger Expressionist heir). For an intellectual contrast, see Pierre-Auguste Renoir, French Impressionist (1841-1919) — Munch and Renoir were exact contemporaries painting the same Belle Époque from opposite emotional poles — Renoir's dappled-light bourgeois pleasure and Munch's anxiety-soaked bourgeois terror are the late-19th-century painting's two halves. The same world; the cleanest emotional inversion.
Explaining his artistic technique and the emotional resonance he aimed for in his 'Frieze of Life' series.
Date: Late 19th Century
Art & CreativityFound in 1 providers: gemini
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