The way one sees is also dependent upon one's emotional state of mind. This is why a motif can be looked at in so many ways, and this is what makes art so interesting.
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"I felt as if there were invisible threads connecting us – I felt the invisible strands of her hair still winding around me – and thus as she disappeared completely beyond the sea – I still felt it, fe…"
"I paint moments, not things."
"Without anxiety and illness I should have been like a ship without a rudder."
"The air was like a shriek."
"I burned with wine and memory of the dark eyes—I was intense and talked to Fru L of love and pleasure."
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 the subjective and emotional nature of perception in art.
Date: Late 19th Century
Art & CreativityFound in 1 providers: gemini
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