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Edvard Munch Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1972 Edvard Munch: Motifs and Motivations Gordon Moffett Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Moffett, Gordon, "Edvard Munch: Motifs and Motivations" (1972). Masters Theses. 3848. https://thekeep.eiu.edu/theses/3848 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ----- Date Author EDVARD MUNCH: MOTIFS AND MOTIVATIONS (TITLE) BY Gordon Moffett _,.- THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS .---:_.··-- . · 1972. YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE :ITED ABOVE c.JIW· 1, ,,,..., DATE lJov 7 h� DATE/ ACKNOWLEDGMENTS I wish to thank Dr. Ben Watkins for his concern and sensitivity and his invaluable wealth of knowledge. Also, I wish to extend my appreciation to Carl Wilen for his "absurd" sincerity and to Ron Hinson for his helpful com­ ments on both an emotional and professional level. Fi­ nally, I wish to thank Dr. Walter Felix Sorge for his friendship, patience and small financial loans. Gordon Moffett ii PREFACE Edvard Munch died January 24, 1944. For over eighty years he had anticipated this single event fully; aware, on /occasion, of his success. As an artist he completely enjoyed a confidence in himself that few men find. Yet, almost from the start of his life (born December 12, 1863) he found him- self confronted with death and all the doubt and misery that can be found in its proximity. What sets him apart, as an artist, is that he is the one pioneer of modern painting who dealt courageously with emotional subject matter, espe- cially topics as death and love. His one main source of material for inspiration was his own life. More succinctly-- he painted "with" his feelings. This study concerns not only Munch's death motifs and symbolism, but also his interest in existential philoso- phy, religion and--his love-life. In order to understand Munch as a 19th-20th century artist a general comparison to the painter, James Ensor, has been made which includes some formal analyses of each artist's work and significantly, how each artist faced death. Finally, the author has drawn some parallels between Munch's work and his own. Primarily, this concerns symbolism and the more esoteric levels in the creation of a painting. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS. • • • • • • • • • • • • • • • • ii PREFACE. • • • • • • • • • • • • • • • • • • • • iii TABLE OF CONTENTS ••• • • • • • • • • • • • • • iv LIST OF REPRODUCED WORKS • • • • • • • • • • • • vi I. DEATH MOTIFS IN EDVARD MUNCH'S WORK Disease and Death in Early Life. • • • • • • • • 1 Beginnings as an Artist. • • • • • • • • • • • • 4 Exhibition of 1892 • • • • • • • • • • • • • • • 6 Theme of Love and Death. • • • • • • • • • • • • 8 Death-Love Affair with Dagney Juell. • • • • • • 9 Death-Love Affair with Eva Muddoci • • • • • • • 12 Womankind as a Life-Death Force. • • • • • • • • 15 Development of Symbolism • • • • • • • • • • • • 16 Munch's and David's "Marat's Death". • • • • • • 19 Love-Death Expressed in the Prose Poem "Alpha and Omega". • • • • • • • • • • • • • • 22 Munch's Self Image as a Spiritual Leader • • • • 24 Munch and Religion • • • • • • • • • • • • • • • 26 Influential Philosophers • • • • • • • • • • • • 29 II. A COMPARATIVE STUDY OF EDVARD MUNCH AND JAMES ENSOR Ensor's Early Family Life •••••••• • . • • 32 Comparison of Munch's "Andreas Studying Anatomy" and Ensor's "Somber Lady" ••• . • • 34 The Avant Guarde, Les XX • • • • • • • • • • • . 36 Religion and Ensor • • • • • • • • • • • . • . • 38 Symbolism. • • • • • • • • • • • • • • • • • • • 40 Death and Ensor ••••••••••• . • • 41 Munch and Ensor as Printmakers • • • • • • • • • 43 Ensor and the Absurd • • • • • • • • • • • • • • 45 Ensor's Funeral •••••. • • • • 47 Munch and His Own Death. • • • • • • • • • • • • 48 III. SOME PARALLELS IN THE WORKS OF MOFFETT AND MUNCH Preface. • • • • • • • • • • • • • • • • • • • • 51 Comparison of Moffett's "Jesus· Crisis" and Munch's "The Cry". • • • • • • • • • • • • • • 51 iv Page Comparison of Moffett•s "The Virgins" and Munch's "Consolation". • • • • • • • • • • • • 54 Moffett's Work, "Dasongisee" and Munch's Symbolism. • • • • • • • • • • • • • • 54 Moffett's "Garis ha" and Munch's "Madonna". • • • 56 Moffett's "Swamp Fly". • • • • • • • • • • 56 IV. REPRODUCED WORKS • • • • • • • • • • • • 61 v. FOOTNOTES. • • • • • • • • • • • • • • • • • 71 VI. SOURCES OF WORKS Printings. • • • • • • • • • • • • • • 75 Prints • • • • • • • • • • • .. • • • • • • • 76 Drawings .. • • • • • • • • • • • • • 77 VII. BIBLIOGRAPHY • • • • • • • • • • • • • • • 78 v REPRODUCED WORKS Page "The Sick Child" by Munch. • • • • • • • • • • 61 "Jealousy" by Munch. • • • • • • • • • • • • • 62 "The Brooch" by Munch •• • • • • • • • • • • 62 "Women by the Shore" by Munch. • • • • • • • • • • 63 "The Maiden and Death" by Munch. • • • • • • • • • • 63 "Marat's Death" by Munch • • • • • • • • • • • • • 64 "Marat's Death" by David • • • • • • • • • • • 64 "Somber Lady" by Ensor • • • • • • • • • • • • • • • 65 "Andreas Studying Anatomy" by Munch. • • • • • • • • • 65 "Skeletons Trying to Warm Themselves" by Ensor •• • • 66 "Between Clock and Bed" by Munch • • • • • • • • • • 66 "The Shriek" by Munch ••••• • • • • • • • • • • • • 67 "The Jesus Crisis" by Moffett. • • • • • • • • • • • • 67 "Consolation" by Munch • • • • • • • • • • • • • • • • 68 "The Virgins" by Munch • • • • • • • • • • • • • • • 68 "Madonna" by Munch • • • • • • • • • • • • • • • • • 69 "Garisha" by Moffett ••• • • • • • • • • • • • • 69 "Dasongisee" by Moffett. • 0 • • • • • • • • • • • • • 70 "Swamp Fly" by Moffett • • • • • • • • • • • • • • • • 70 vi DEATH MOTifS IN EDVARD fvnJNCH'S WORK CHAPTER I "The black angels of· disease and insanity were on 1 guard at my cradle," so stated Edvard Munch. Indeed, it seems as if the seed of tragedy was implanted early in his life. For it was his lot to see death, poverty, and disease from the beginning . The effect of such gloom was not easily erased, but rather made indelible, growing more complex with the expansion of his own personal horizon and artistic vision. Death became a dominant theme in painting and printmaking . Through this ghastly motif, Munch shocks his viewer into the realization of being, i.e., the awareness of one's own vital existence as an integral and interrelated part of na ture ' s procP.ss. The artist poetical ly admitted, "Without illness and death my life would have been a ship 2 without he lm. 11 He was born on a farm in Luten, county of Hedmark, in Norway. His fam i ly came from a we ll established line that was professionally oriented. The son of a somewhat tempermental and arj. s t ocrat i � , military surgeon, Edvard grew up in a mixed atmosphere of love, torri d religios i ty and indiscriminate discipline. His fi rsl encounter with death was at the age of five when his mother, Laura (Bj¢rdal ) , died of tuberculosis. Suffering for mos t of his childhood from sickness , he was considered to be a semi-invalid until about the age of seventeen. Then, too, there was the tuber- cular death of his elder sister, Sophie. Though he was only 2 became fixed i :) :-iis mi.rid. .Lt :·H:'rved a.s a cr'it:alyst for some of his most insplrerl work: '"rbe .'lic1< !-::hi lcl� " W.l l liam Stevens pcd.1·�.odly st.Litect, "2m0ll.c.-.:1olly, .it was a rel ease for Munch's pE>rsonal agony over t�ir� deatJ1 of his sister Sophie in 1877. but a reJease filtered through a genera- 1.ized statement • "�� The fir�t pa in tinq of the subject was done in 1886. However., Murw:1 n::.?p{-:dLedly constructed "The Sick Child " in drawings, p;1jnl.ings ar;d 1.iU1o<:;rr-1phs. Ln �ach case it is done with such s.:.·nslt·ivily l.hrit 1)ne c0r: Rlmost feel the life fade from the �hild. Looking �t a print one can see that l.he technique used in the cr�aUon of her hair:- helps achieve the delicate and al mo s t fragile> quality. He has portrayed t.he tressr:s i ri ?. mat-ted and dj san:-f'lyed manner allowing much of the child• s fo rEC�head lo b�.? sepn. The mut:ed and trans- parent man)n"1 patchwork 0f thP hair aia in suqgE:�sting the loss of freshn�s!:i and vitality. ThP. brltLle, yet free pl ay of Munch's penc:i1 in the hair and in the t-orrnation of the ovecal l a lmos ph t:� re rein forces a serise
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