Symbol, Munch & Creativity. Metabolism of Visual Symbols

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Symbol, Munch & Creativity. Metabolism of Visual Symbols

JYVÄSKYLÄ STUDIES IN HUMANITIES 139 Sari Kuuva Symbol, Munch and Creativity Metabolism of Visual Symbols JYVÄSKYLÄ STUDIES IN HUMANITIES 139 Sari Kuuva Symbol, Munch and Creativity Metabolism of Visual Symbols Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston Juomatehtaalla, salissa JT120 toukokuun 3. päivänä 2010 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in building Juomatehdas, hall JT120, on May 3, 2010 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2010 Symbol, Munch and Creativity Metabolism of Visual Symbols JYVÄSKYLÄ STUDIES IN HUMANITIES 139 Sari Kuuva Symbol, Munch and Creativity Metabolism of Visual Symbols UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2010 Editor Annika Waenerberg Department of Arts and Culture Studies, University of Jyväskylä Pekka Olsbo Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Matti Rahkonen, Department of Languages, University of Jyväskylä Petri Toiviainen, Department of Music, University of Jyväskylä Tarja Nikula, Centre for Applied Language Studies, University of Jyväskylä Raimo Salokangas, Department of Communication, University of Jyväskylä Cover pictures by Edvard Munch URN:ISBN:978-951-39-3865-9 ISBN 978-951-39-3865-9 (PDF) ISBN 978-951-39-3847-5 (nid.) ISSN 1459-4331 Copyright © 2010 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2010 !"#$"" %&"(&!)"#%&"(&*+/+*6:;< =%&"(&">" ?@/GQ6FG31X/6Z ?[@978-951-39-3865-9 (PDF), 6\QF6Q/F6FQG\FQ(nid.

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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 .---:_.··-- .
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XRF Hits: Zn Non-‐Reported W No
Unintended contamination? A selection of Munch’s paintings with non-original zinc white Tine Frøysaker Conservation Studies, Department of Archaeology, Conservation and History (IAKH), University of Oslo Background Among the paintings by Munch owned by public institutions in Oslo, there are two well-documented cases of the presence of non-original zinc white (ZnO): the university’s Aula painting entitled Chemistry (1914-16,1 Fig. 1) and the Munch Museum’s version of Puberty (1894,2 Fig. 2).3 Zinc-containing applications were introduced by a small group of Norwegian restorers and conservators, who applied zinc white (in spite of its ‘seeding’4 effect) to the versos of sever- al paintings during a period of more than 50 years. Zinc white was probably used as an antiseptic additive, although never referred to as such. The first known example is Munch’s Chemistry and ZnO was also applied to the reverse side of the other 10 Aula paintings during the mid 1920s while the paintings (c. 220 m2 in total) were lying on the Aula floor.5 The last reported application was in 1977 to Munch’s History,6 a painted Aula sketch in the Stenersen Collec- tion.7 Conservation records for the Munch paintings at the Munch Museum, the Stenersen Collection and the Bergen Art Museum hold information on two paste-lined paintings each and where zinc white is mentioned as part of the lining-adhesive recipes.8 This poster will consider the phenomenon of non-original ZnO in Munch’s paintings, which undoubtedly points to less-thoroughly reported examples of zinc-contaminated paintings in Norwegian museums.9 Metal soaps and oxalates The presence of zinc across the surface of some of Munch’s paintings was first detected in 2008 and 2009 when the EU- Ac- cess, Research and Technology for the conservation of the European Culture Heritage (EU-ARTECH MOLAB) research team examined Chemistry and Puberty.
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Exposing Motherhood in Nineteenth Century Europe
Woman, demonstrating a shift in the nature of moth- Munch’s Madonna: erhood: that from a moral duty towards an option in a Exposing Motherhood in woman’s life. The methodologies of iconography and Nineteenth Century Europe feminism unravel the symbolically-charged painting, and serve as a means to understand the social impli- cations of motherhood in nineteenth-century Europe. Helena Gomez Where does Munch’s Madonna fit in the con- text of nineteenth-century cultural ambivalence to- wards the emerging New Woman? Although much of Munch’s work has been viewed in a misogynis- tic light, criticized as the objectification of women in the extreme, and seen as a threat to the sanctity of motherhood, there may be room for more subtle in- terpretation. Munch’s Madonna reflects the changing role of motherhood as a social arrangement, and the exploration of the feminine through the New Woman. Late nineteenth-century Europe was charac- terized by the slow decline of Church power since The Virgin Mary, icon of purity and paradig- the French Revolution, modern developments in sci- matic image of the unconditional loving and caring ence, and acceptance of physical and biological hu- mother, represents the idealization of motherhood par man needs; but more importantly, there emerged an excellence. Characterized since Renaissance Mario- ambivalent atmosphere governing the male popula- logical imagery as the embodiment of chastity, she tion around the phenomenon of the New Woman.1 is most often depicted as soft, delicate, fully clothed, The New Woman introduced new tenets of social, and accompanied by the Christ Child.
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The Prints of Edvard Munch : [Checklist of the Exhibition], February 13-April 29, 1973
The prints of Edvard Munch : [checklist of the exhibition], February 13-April 29, 1973 Author Museum of Modern Art (New York, N.Y.) Date 1973 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1725 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SELF-PORTRAIT. 1895 THEPRINTS OF EDUARDMUNCH Hit / 0 PLl f ACKNOWLEDGMENTS On behalf of the Trustees of The Museum of Modern Art, I wish to express my gratitude to the Norwegian Government and to the Munch Museum of the Oslo Municipal Collections, its Director Pal Hougen and his assistant Bente Torjusen, for making available material from their archives. For their invaluable assistance I also wish to thank Dr. and Mrs. David Abrahamsen, New York, Mr. and Mrs. P. Irgens Larsen, New York, Mr. and Mrs. Lionel Epstein, Washington, D. C. , Eleanor Garvey of The Houghton Library, Harvard University, Cambridge, Mass., and Bjj2frn Jensen, Director of the Norwegian Information Service in the United States. Among many sources available, the studies of Dr. Reinhold Heller of The University of Pitts burgh have been extremely useful. I am most indebted to Mr. and Mrs. William B. Jaffe for their generous gifts to the Museum and to William S. Lieberman, the Museum's Chief Curator of Drawings, who has been largely respon sible for the formation of its Munch collection. Finally, I would like to thank Howardena Pindell, Assistant Curator in the Department of Prints and Illustrated Books, for her work on the exhibition.
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MASTERS of MODERNISM Balke, Munch & Kirkeby Dickinson 1
MASTERS OF MODERNISM Balke, Munch & Kirkeby dickinson 1 MASTERS OF MODERNISM Balke, Munch & Kirkeby 2 MASTERS OF MODERNISM Balke, Munch & Kirkeby MASTERS OF MODERNISM Balke, Munch & Kirkeby dickinson 3 4 MASTERS OF MODERNISM Balke, Munch & Kirkeby MASTERS OF MODERNISM Balke, Munch & Kirkeby MASTERS OF MODERNISM Balke, Munch & Kirkeby MASTERS OF MODERNISM Balke, Munch & Kirkeby CONTENTS PREFACE Aurélie Didier MATERIALS AND EXPERIMENTS AS A SIGN OF MODERNISM Dr. Dieter Buchhart PER KIRKEBY: A VIEW OF BALKE Dr. Anne-Birgitte Fonsmark BALKE PLATES KIRKEBY’S REFLECTIONS OF MUNCH Prof. Øivind Storm Bjerke MUNCH PLATES PER KIRKEBY, REMEMBERING AN INTERVIEW FROM 1996 Dr. Dieter Buchhart KIRKEBY PLATES ARTIST BIOGRAPHIES LIST OF PLATES ACKNOWLEDGEMENTS THIS EXHIBITION IS DEDICATED TO THE MEMORY OF DR. HELMUT BUCHHART 8 MASTERS OF MODERNISM Balke, Munch & Kirkeby PREFACE Aurélie Didier When I first discussed with Dieter Buchhart the possibility of organising an exhibition to be held simultaneously at both our London and New York galleries, we were both enthusiastic and eager to deliver an exhibition that was truly original. A leading expert on Edvard Munch, Dieter Buchhart came up with an inspirational exhibition concept that he had had in mind for a long time: Masters of Modernism: Peder Balke, Edvard Munch, Per Kirkeby. Based on the philosophies of Aristotle, Kant and Hegel on the subject of art, it has been acknowledged for centuries that art history has been a history of form rather than of material. Works of art in general, and paintings in particular, display a distinct form that has been “liberated from the scaffolding of mere materiality.”1 The fact that materiality has been strictly subjugated to the form is a point of view that modern art has largely overruled.
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SIXTH STREET at CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 Extension 224
SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 FOR IMMEDIATE RELEASE PRESS PREVIEW: Thursday, November 9, 1978 10 a.m. to 3 p.m. MAJOR MUNCH EXHIBITION TO OPEN AT NATIONAL GALLERY NOVEMBER 11 WASHINGTON, D. C. October 30, 1978. The most comprehensive exhibition ever held in the U. S. of the work of the Norwegian artist Edvard Munch (l863-19 14U) will be shown at the National Gallery of Art November 11 through February 19, 1979. Entitled Edvard Munch: Symbols and Images, the exhibition will be on view in the Gallery's East Building special exhibition galleries on the concourse level. Two hundred forty-five paintings, prints, drawings, watercolors, woodblocks, and Munch's hand-made illustrated book The Tree of Knowledge have been lent from major collections in Norway, and public and private collections in Europe and the United States. Over ninety percent of Munch's art resides in Norwegian collections, including the Munch Museum and the National Gallery, Oslo, and the Billedgalleri and Rasmus Meyers Samlinger, both in Bergen. Many of the works in the exhibition have never before been allowed to leave Norway and very few of his paintings exist in American public collections. Their Royal Highnesses Crown Prince Harald and Crown Princess Sonja of Norway are the honorary patrons of the exhibition. The exhibition has been organized by the National Gallery in close (more) MAJOR MUNCH EXHIBITION OPENS AT GALLERY NOVEMBER 11 -2. collaboration with a Norwegian working committee of museum directors and with the American Munch specialist Lionel Epstein, who has also served as guest curator of the major prints section of the exhibition.
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The Sickly Female Body in Edvard Munch's the Dance
THE SICKLY FEMALE BODY IN EDVARD MUNCH’S THE DANCE OF LIFE (1899-1900) A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS by Rebecca McEwen Diploma Date August 2018 Thesis Approvals: Dr. Therese Dolan, Primary Thesis Advisor, Temple University Dr. Sharon Hirsh, Secondary Thesis Advisor, Rosemont College © Copyright 2018 by Rebecca McEwen All Rights Reserved ii ABSTRACT In interpretations of The Dance of Life (1899-1900) by Edvard Munch, the femme fragile and the femme fatale have been considered jointly (i.e. as allusions to the cyclicality of life) or as individuals. Their unique characteristics have been recognized as such: whereas the femme fragile dons white to signify her prepubescent state and thus her innocence, the femme fatale wears red to suggest her sexuality and even her availability. Yet, scholars have failed to probe their iconographical complexities. Doing so would not only lend greater conviction to Munch’s historical identity as a Symbolist (as his archetypes would be recognized for their multivalence), but it would also reveal the didactic possibilities of the work of art itself. Given this void in the literature, the purpose of this thesis will be to elaborate on the formal and narrative qualities of the femme fragile and femme fatale in this painting. These archetypes ultimately allude to misogynistic anxieties, with the femme fragile in particular representing the sickly female body. iii DEDICATION To my parents, Cathie Bunch and Neil McEwen: You reassured me after the first day of kindergarten that I would learn how to read, and you have been there for me at every academic juncture since.
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Ten Movements That Shook the Film World
TEN MOVEMENTS THAT SHOOK THE FILM WORLD Week 1 GERMAN EXPRESSIONISM Week 2 DOGME 95 Week 3 ITALIAN NEO-REALISM Week 4 1930S BRITISH DOCUMENTARY MOVEMENT Week 5 CZECH NEW WAVE Week 6 RUSSIAN MONTAGE Week 7 NEW GERMAN CINEMA Week 8 FRENCH NEW WAVE Week 9 THE POLISH SCHOOL Week 10 NEW HOLLYWOOD From www.Movementsinfilm.com GERMAN EXPRESSIONISM GERMANY (EST. 1919 - 1931) As the name suggests, German expressionist filmmakers used visual distortion and hyper-expressive performance to show inner turmoils, fears and desires of that era. German Expressionism reflects the inner conflicts of its 1920s German audience by giving their woes an inescapably external presence. By rejecting cinematic realism, expressionist films showcase dramatic, revolutionary interpretations of the human conDition. How German Expressionism began In 1916, the German government deciDeD to ban all foreign films. With a suDDen demanD for more domestic titles, there was an understandably dramatic increase in the number of films produced in Germany each year. However, German auDiences haD become less preferential towarDs romance and action flicks since the beginning of WWI, and themes of violence, cruelty and betrayal become more relevant topics for Discussion. This unfortunate set of circumstances, along with the constant fear of hyperinflation, proviDeD a platform for daring, innovative filmmakers such as Fritz Lang (Metropolis) anD F.W. Murnau (Nosferatu) to make German Expressionism one of the most important anD influential movements in cinematic history. "I am profoundly fascinated by cruelty, fear, horror and death. My films show my preoccupation with violence, the pathology of violence." - Fritz Lang Unlike most other cinematic movements, Expressionism doesn't solely belong to filmmaking, and existed prior to the invention of cinema.
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Edvard Munch 1 Edvard Munch
Edvard Munch 1 Edvard Munch Edvard Munch Munch in 1921 Born 12 December 1863Ådalsbruk in Løten, Norway Died 23 January 1944 (aged 80)Oslo, Norway Nationality Norwegian Field Painting Movement Expressionism Works The Scream [1] Edvard Munch (Norwegian pronunciation: [ˈmuŋk], 12 December 1863 – 23 January 1944) was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionist art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of love, fear, death, melancholia, and anxiety. Biography Childhood Edvard Munch was born in a rustic farmhouse in the village of Ådalsbruk in Løten, Norway to Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura Catherine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Catherine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob Munch (1776–1839) and historian Peter Andreas Munch (1810–1863).[2] The family moved to Christiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard’s mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877.[3] After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied, and received tutoring from his school mates and his aunt.
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Edvard Munch (1863-1944) World War I Art: Otto Dix (1891-1
Early 20th c. art: Expressionism, Dada, and Surrealism Expressionism: Edvard Munch (1863-1944) The Scream, oil, pastel, and casein on cardboard, 3’x2’5” (1893) Ashes, oil on canvas, 120x141 cm (1894) Madonna, oil on canvas, 90x71 cm (1894-95) The Murderer on the Lane, oil on canvas (1919) World War I art: Otto Dix (1891-1959) Der Krieg (The War), oil and tempera on wood, 6’8”x13’4” (1929-1932) Käthe Kollwitz (1867-1945) Woman with Dead Child (1903) Wilhelm Lehmbruck Seated Youth, plaster, 3’4”x3’9” (1917) Dada and the “readymade” sculpture: Marcel Duchamp (1887-1968) Fountain, Glazed porcelain with black paint, 12” h (1917) The Bride Stripped Bare by Her Bachelors, Even, oil, wire, foil, dust on glass, 9’x6’ (1915-23) Reproduction of L.H.O.O.Q. (1919) [fr. “elle a chaud au cul”] Surrealism and Salvador Dali’s “paranoiac-critical method”: Giorgio de Chirico (1888-1978) Melancholy and Mystery of a Street, oil on canvas, 2’10”x2’4” (1914) Max Ernst (1891-1976) Two Children are Threatened by a Nightingale,oil on wood, 2 ’3”hx1’10”wx4½”d (1924) Salvador Dali (1904-1989) The Cosmic Dali (1948) The Lugubrious Game (1929) The Persistence of Memory, oil on canvas, 9 ½” x 13” (1931) Soft Construction with Boiled Beans: Premonition of Civil War, oil on canvas, 43x33” (1936) The Metamorphosis of Narcissus (1937) Sleep (1937) Shirley Temple, the Youngest, Most Sacred Monster of the Cinema in her Time (1939) Freud’s Perverse Polymorph (Bulgarian Child Eating a Rat) (1939) Temptation of St.
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EDVARD MUNCH's 'ALPHA and OMEGA' Seriess
EDVARD MUNCH'S 'ALPHA AND OMEGA' SERIESs A SUMMATION OP THE FRIEZE OF LIFE SERIES by Evangeline Zogaris B.A., University of British Columbia, 1973 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE DEPARTMENT OF FINE ARTS We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1976 (c) Evangeline Zogaris In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date April. 1976 i ABSTRACT The Alpha and Omega series was executed in 1908, during Munch's hospitalization in a psychiatric clinic where he was receiving intense treatments for a mental breakdown. The subject matter and the iconography of the Alpha and Omega series is closely interrelated with Munch's most significant works, the Frieze of Life series, with which he was preoccupied between the years 1892 to 1902. The two main issues of the Frieze of Life series which deal with the relationships between man and woman and. the aspects of life and death, are closely associated with Munch's philosophy on life, love and death as it was formulated from his personal experiences.
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The Masterworks of Edvard Munch Introd
The masterworks of Edvard Munch Introd. by John Elderfield, commentaries by Arne Eggum Author Museum of Modern Art (New York, N.Y.) Date 1979 Publisher The Museum of Modern Art ISBN 0870704923 Exhibition URL www.moma.org/calendar/exhibitions/1701 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Masterworksof EDVARD MUNCH "* - 1 >. THE MUSEUMOF MODERN ART NEW YORK The Masterworks of EDVARD MUNCH The Masterworks of f EDVARD MUNCH Introductionby John Elderfield Commentariesby Arne Eggum THE MUSEUM OF MODERN ART NEW YORK "The Masterworks of Edvard Munch" on view from March 15 to April 24, 1979, is presented with the support of Mobil Corporation and is drawn from an exhibition organized by the National Gallery of Art, Washington, D.C. This catalog has been assisted by a grant from The Lauder Foundation. Copyright © 1979 by The Museum of Modern Art, New York Commentaries by Arne Eggum copyright © 1978 by the Trustees of the National Gallery of Art, Washington All rights reserved Library of Congress Catalog Card Number 79-84029 ISBN 0-87070-492-3 Designed by Christopher Holme The Museum of Modern Art 11 West 53 Street New York, N.Y. 10019 Printed in the United States of America Cover: The Scream. 1893. Nasjonalgalleriet, Oslo This catalog is published on the occasion of an exhibition at The Museum of Modern Art of a group of masterworks by the great Norwegian artist Edvard Munch.
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