The strange light illuminated all those night-time meetings that took place in every imaginable sort of café; the lips mouthing defiant words, heedless of restraint or consequence, often overbearing and brutal as only Norwegians can be, vast shadows of impotence misery and shabbiness – spirits training for fulfillment, striving in vain to be great, complete, unique.
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"Could only have been painted by a madman."
"The colours scream. They are the scream itself."
"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 am a wanderer, always searching for something I cannot find."
"My fear of life is necessary to me, as is my illness. They are indistinguishable from me, and their destruction would destroy my art."
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.
A descriptive and somewhat cynical observation of the Norwegian bohemian scene in Kristiania (Oslo) in his youth.
Date: Approx. 1886-1889
Art & CreativityFound in 1 providers: gemini
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