PAINT LIKE EDVARD MUNCH Read Through the Following Slides and Then Try Paining in the Style of Edvard Munch Yourself
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EDVARD MUNCH Cast
EDVARD MUNCH EDVARD MUNCH Cast EDVARD MUNCH Geir Westby MRS. HEIBERG Gros Fraas The Munch Family in 1868 The Munch Family in 1875 SOPHIE Kjersti Allum SOPHIE Inger Berit Oland EDVARD Erik Allum EDVARD Åmund Berge LAURA Susan Troldmyr LAURA Camilla Falk PETER ANDREAS Ragnvald Caspari PETER ANDREAS Erik Kristiansen INGER Katja Pedersen INGER Anne Marie Dæhli HOUSEMAID Hjørdis Ulriksen The Munch Family in 1884 Also appearing DR. CHRISTIAN MUNCH Johan Halsbog ODA LASSON Eli Ryg LAURA CATHRINE MUNCH Gro Jarto CHRISTIAN KROHG Knut Kristiansen TANTE KAREN BJØLSTAD Lotte Teig FRITZ THAULOW Nils Eger Pettersen INGER MUNCH Rachel Pedersen SIGBJØRN OBSTFELDER Morten Eid LAURA MUNCH Berit Rytter Hasle VILHELM KRAG Håkon Gundersen PETER ANDREAS MUNCH Gunnar Skjetne DR. THAULOW Peter Esdaile HOUSEMAID Vigdis Nilssen SIGURD BØDTKER Dag Myklebust JAPPE NILSSEN Torstein Hilt MISS DREFSEN Kristin Helle-Valle AASE CARLSEN Ida Elisabeth Dypvik CHARLOTTE DØRNBERGER Ellen Waaler The Bohemians of Kristiania Patrons of the Café "Zum Schwarzen Ferkel" HANS JÆGER Kåre Stormark AUGUST STRINDBERG Alf Kåre Strindberg DAGNY JUELL Iselin von Hanno Bast STANISLAV PRZYBYSZEWSKI Ladislaw Rezni_ek Others BENGT LIDFORS Anders Ekman John Willy Kopperud Asle Raaen ADOLF PAUL Christer Fredberg Ove Bøe Axel Brun DR. SCHLEICH Kai Olshausen Arnulv Torbjørnsen Geo von Krogh DR. SCHLITTGEN Hans Erich Lampl Arne Brønstad Eivind Einar Berg RICHARD DEHMEL Dieter Kriszat Tom Olsen Hjørdis Fodstad OLA HANSSON Peter Saul Hassa Horn jr. Ingeborg Sandberg LAURA MARHOLM Merete Jørgensen Håvard Skoglund Marianne Schjetne Trygve Fett Margareth Toften Erik Disch Nina Aabel Pianist: Einar Henning Smedby Peter Plenne Pianist: Harry Andersen We also wish to thank the men, women and children of Oslo and Åsgårdstrand who appear in this film. -
Edvard Munch.Pdf
EDVARD MUNCH L.O. TO USE PAINT APPLICATION TECHNIQUES TO CREATE MOOD AND ATMOSPHERE IN A PAINTING WHO IS EDVARD MUNCH WHAT CAN WE REMEMBER FROM THE VIDEO WHAT CAN WE REMEMBER FROM THE VIDEO Born 12.12.1863 His genre of Art is Expressionist Died 23.1 1944 A lot of his art was based on emotions His based some of his art on ghost stories Born in Norway that he loved hearing from his father. Melacholy Jealousy The Scream Anxiety Sickness Death Lonliness Today we are going to have a go at creating our own Scream painting. You will be following the steps of creating the background. Then you can either have you photograph taken in the scream pose or draw your own scream person. He painted one of the most famous and recognized paintings of all time, “The Scream”. This is what he wrote in his diary about the incident that inspired him to paint it: “I was walking along the road with two friends – the sun went down. I felt a gust of melancholy. Suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death as the flaming skies hung like blood and sword over the blue-black fjord and the city. My friends went on. I stood trembling with anxiety and I felt a vast infinite scream through nature.” -Edvard Munch. Step 1 create the straight lines for the fence. Sketch them in gentley so you can see them but they will be covered when you paint Step 2. Once you have sketched the fence, paint in the fence, the pathway in shades of brown. -
The Study of the Relationship Between Arnold Schoenberg and Wassily
THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world. -
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 .---:_.··-- . -
Becoming Edvard Munch: Influence, Anxiety, and Myth
Janet Whitmore exhibition review of Becoming Edvard Munch: Influence, Anxiety, and Myth Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Janet Whitmore, exhibition review of “Becoming Edvard Munch: Influence, Anxiety, and Myth,” Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc- artworldwide.org/autumn09/becoming-edvard-munch-influence-anxiety-and-myth. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Whitmore: Becoming Edvard Munch: Influence, Anxiety, and Myth Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Becoming Edvard Munch, Influence, Anxiety and Myth The Art Institute of Chicago 14 February-26 April 2009 Catalogue: Becoming Edvard Munch, Influence, Anxiety and Myth Jay A. Clarke New Haven and London: Yale University Press, 2009. 232 pages; 245 color and 48 b/w illus; chronology, checklist of exhibition; bibliography; index of works. $50.00 ISBN: 978-0-300-11950-3 We all know the script: unstable artistic personality suffers through self-destructive life while producing tormented, but brilliant, artwork. It is the stuff of La Bohème, Lust for Life, and endless biographies of [pick one] Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Frida Kahlo, Jackson Pollack, Andy Warhol, etc., etc., etc. The cliché of the romantic suffering artist has become a signature trope of western art history as well as popular culture. -
National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney. -
The Use of Evaluative Emojis by College Students in Kuwait1
International Journal of Linguistics and Communication June 2018, Vol. 6, No. 1, pp. 46-60 ISSN: 2372-479X (Print) 2372-4803 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijlc.v6n1a4 URL: https://doi.org/10.15640/ijlc.v6n1a4 Taming the Sting: The Use of Evaluative Emojis by College Students in Kuwait1 Nada A. Algharabali & Hanan A. Taqi Abstract Messaging through smart phones has become a vital method of communication. In the light of the use of emojis in messages, the following paper investigates the reasons and methods of the use of different emojis by college students in academic related settings. The study was implemented in the college of Basic Education in Kuwait. The participants, 163 male and female students, answered a questionnaire on the importance of emojis, the context of use, and the way they are used. In addition, some of the students were interviewed to elicit more information on the use of emojis. After the analysis of the qualitative and quantitative data, the researchers found that the use of emojis by students is highly important in the discussion of college-related topics. They are used as a safe vehicle to reflect criticism and negative comments in an authority-free setting.Whether they are used individuallyor in clusters, they carry a bundle of meaning. Keywords: Sociolinguistics, self-expression, emojis, gender, college, undergraduate education 1. Introduction In an ever-changing world that is heavily impacted by new communication technologies and emerging media cultures, popular texting discourse is increasingly favoring more distinctive visual resources during communication. -
The Role of Art in Do Androids Dream of Electric Sheep?
Alex Hines Instructor Andrew Nance English 1102 13 November 2017 Does John Donne Dream of Electric Sheep? The Role of Art in Do Androids Dream of Electric Sheep? Despite its futuristic setting, Philip K. Dick’s Do Androids Dream of Electric Sheep? features several allusions to classic works of art. Although the androids have the capacity to appreciate such references on technical and even cultural levels, they lack the ability to identify meaningfully with the artworks as experiences. While the androids’ appreciation of art is tethered to a rigid rubric of logic and program-structured emotions, Dick emphasizes the ways in which “organic” humans, on the other hand, synthesize their logical and emotional reactions into a subjective, personal experience of artwork. In making this distinction, Dick suggests that the ability to empathize with the moral motivations and circumstantial emotions of the human subjects within each piece, as well as the capacity to recognize subjective thematic elements and the artists’ intentions behind them, are uniquely human characteristics. One of the first allusions that Dick features comes in the form of an opera: The Magic Flute. Dick chooses to present this allusion when Deckard must retire android Luba Luft, a singer performing as one of the opera’s protagonists. Dick’s decision to include this opera is significant because truth is a central theme in both the play and his novel. Deckard observes that it is “ironic” that an android should play a role where truth is so vital, because androids inherently lack the ability to understand the value of truth to such a role (Dick 96). -
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. -
Unravelling Historical and Artist Applied Varnish Layers in Painting Collections
Eur. Phys. J. Plus (2021) 136:899 https://doi.org/10.1140/epjp/s13360-021-01758-5 Regular Article Munch and optical coherence tomography: unravelling historical and artist applied varnish layers in painting collections Thierry Ford1,2,a , Magdalena Iwanicka3, Elena Platania2,4,PiotrTargowski5, Ella Hendriks6 1 The National Museum of Art, St. Olavs Plass, P.O. Box 7014, 0130 Oslo, Norway 2 Department of Archaeology, Conservation and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008 Blindern, 0315 Oslo, Norway 3 Department for Conservation and Restoration of Paintings and Polychromed Sculpture, Faculty of Fine Arts, Nicolaus Copernicus University, ul. Gagarina 7, 87-100 Toru´n, Poland 4 Hylleraas Centre for Quantum Molecular Sciences, Department of Chemistry, University of Oslo, Blindern, Post Box 1033, 0315 Oslo, Norway 5 Institute of Physics, Nicolaus Copernicus University. Ul, Grudziadzka 5, 87-100 Toru´n, Poland 6 Programme Conservation and Restoration of Cultural Heritage, University of Amsterdam (UvA), Johannes Vermeerplein 1, 1071 DV Amsterdam, Netherlands Received: 1 November 2020 / Accepted: 14 July 2021 © The Author(s) 2021 Abstract Effective care of large-scale museum collections requires planning that includes the conservation treatment of specific groups of art works, such as appropriate cleaning strategies. Optical coherence tomography (OCT) has been successfully applied as a non- invasive method for the stratigraphic visualisation of the uppermost transparent and semi- transparent layers in paintings, such as varnishes. Several OCT case study examples have further demonstrated the capabilities of the non-contact interferometric technique to measure the thickness of the various varnish layers, to help monitor cleaning and associated optical changes, and to detect past restorations. -
Expressionist Art and Drama Before, During, and After the Weimar Republic
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses Summer 8-21-2015 Expressionist Art and Drama Before, During, and After the Weimar Republic Shane Michael Kennedy Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the European History Commons, German Literature Commons, and the Painting Commons Let us know how access to this document benefits ou.y Recommended Citation Kennedy, Shane Michael, "Expressionist Art and Drama Before, During, and After the Weimar Republic" (2015). Dissertations and Theses. Paper 2508. https://doi.org/10.15760/etd.2505 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Expressionist Art and Drama Before, During, and After the Weimar Republic by Shane Michael Kennedy A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in German Thesis Committee: Steven Fuller, Chair Kathie Godfrey Timm Menke Portland State University 2015 Abstract Expressionism was the major literary and art form in Germany beginning in the early 20 th century. It flourished before and during the First World War and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. -
Psychoanalytic Perspectives on Puberty and Adolescence
Psychoanalytic Perspectives on Puberty and Adolescence Puberty is a time of tumultuous transition from childhood to adulthood activated by rapid physical changes, hormonal development and explosive activity of neurons. This book explores puberty through the parent-teenager relationship, as a “normal state of crisis”, lasting several years and with the teenager oscillating between childlike tendencies and their desire to become an adult. The more parents succeed in recognizing and experiencing these new challenges as an integral, ineluctable emotional transformative process, the more they can allow their children to become independent. In addition, parents who can also see this crisis as a chance for their own further development will be ultimately enriched by this painful process. They can face up to their own aging as they take leave of youth with its myriad possibilities, accepting and working through a newfound rivalry with their sexually mature children, thus experiencing a process of maturity, which in turn can set an example for their children. This book is based on rich clinical observations from international settings, unique within the field, and there is an emphasis placed by the author on the role of the body in self-awareness, identity crises and gender construction. It will be of great interest to psychoanalysts, psychotherapists, parents and carers, as well as all those interacting with adolescents in self, family and society. Gertraud Diem-Wille is Professor Emeritus at the University of Klagenfurt in the field of Psychoanalytic Education. She is a training analyst for children, adolescents and adults (IPA) and has pioneered and supported the training in psychoanalytic observational approaches to training in psychoanalytic and educational fields in Austria.