Edvard Munch

Biography

Edvard Munch was born in Ådalsbruk/Løten, Norway, and grew up in Kristiania (now Oslo). He was related to painter Jacob Munch (1776–1839) and historian Peter Andreas Munch (1810–1863). He lost his mother, Laura Cathrine Munch, née Bjølstad, to tuberculosis in 1868, and his older and favorite sister Sophie (Johanne Sophie b. 1862) to the same disease in 1877. Ultimately his father, Christian Munch, died young, as well, in 1889. Munch also had a brother, (Peter) Andreas (b. 1865) and two younger sisters (Laura Cathrine b. 1867, Inger Marie b. 1868). After their mother's death, the Munch siblings were raised by their father, who instilled in his children a deep-rooted fear by repeatedly telling them that if they sinned in any way, they would be doomed to hell without chance of pardon. One of Munch's younger sisters was diagnosed with mental illness at an early age. Munch himself was also often ill. Of the five siblings only Andreas married, but he died a few months after the wedding. He would later say, "Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life."


Studies and influences
In 1879, Munch enrolled in a technical college to study engineering, but frequent illnesses interrupted his studies. In 1880, he left the college to become a painter. In 1881, he enrolled at the Royal School of Art and Design of Kristiania. His teachers were sculptor Julius Middelthun and naturalistic painter Christian Krohg.

While stylistically influenced by the postimpressionists, Munch's subject matter is symbolist in content, depicting a state of mind rather than an external reality. Munch maintained that the impressionist idiom did not suit his art. Interested in portraying not a random slice of reality, but situations brimming with emotional content and expressive energy, Munch carefully calculated his compositions to create a tense atmosphere.


Maturity
Munch's means of expression evolved throughout his life. In the 1880s, his idiom was both naturalistic, as seen in Portrait of Hans Jæger, and impressionistic, as in (Rue Lafayette). In 1892, Munch formulated his characteristic, and original, Synthetist aesthetic, as seen in Melancholy, in which colour is the symbol-laden element. Painted in 1893, The Scream is his most famous work.[2]

During the 1890s, Munch favoured a shallow pictorial space, a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions (Ashes), the figures impart a monumental, static quality. Munch's figures appear to play roles on a theatre stage (Death in the Sick-Room), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in The Scream, Munch's men and women appear more symbolic than realistic.

In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings evoked bitter controversy, and after one week the exhibition closed. In Berlin, Munch involved himself in an international circle of writers, artists and critics, including the Swedish dramatist August Strindberg.

While in Berlin at the turn of the century, Munch experimented with a variety of new media (photography, lithography, and woodcuts), in many instances re-working his older imagery.

One of his great supporters in Berlin was Walter Rathenau, later the German foreign minister, who greatly contributed to his success.

In the autumn of 1908, Munch's anxiety became acute and he entered the clinic of Dr. Daniel Jacobson. The therapy (including electric shock therapy) Munch received in hospital changed his personality, and after returning to Norway in 1909 he showed more interest in nature subjects, and his work became more colourful and less pessimistic.


Later life
In the 1930s and 1940s, the Nazis labeled his work "degenerate art", and removed his work from German museums. This deeply hurt Munch, who had come to feel Germany was his second homeland.

Munch built himself a studio and simple house at Ekly estate, at Skøyen, Oslo, and spent the last decades of his life there.[3] He died there on January 23, 1944, about a month after his 80th birthday.

"From my rotting body, flowers shall grow and I am in them and that is eternity."
—Edvard Munch

Legacy
When Munch died he left 1,008 paintings, 15,391 prints, 4,443 drawings and watercolors, and six sculptures to the city of Oslo which built the Munch Museum at Tøyen.[citation needed] The museum houses the broadest collection of his works in the world. His works are also represented in major museums and galleries in Norway and abroad. After the Cultural Revolution in the People's Republic of China ended, Munch was the first Western artist to have his pictures exhibited at the National Gallery in Beijing.

One version of The Scream was stolen in 1994, another in 2004. Both have since been recovered, but one version sustained damage during the theft which was too extensive to repair completely.

In October 2006, the colour woodcut Two people. The lonely (To mennesker. De ensomme) set a new record for his prints when it was sold at an auction in Oslo for 8.1 million NOK (1.27 million USD). It also set a new record for the highest price paid in auction in Norway. [1]

Munch appears on the Norwegian 1,000 Kroner note along with pictures inspired by his artwork. [2]


Frieze of Life — A Poem about Life, Love and Death

MadonnaIn December 1893, Unter den Linden in Berlin held an exhibition of Munch's work, showing, among other pieces, six paintings entitled Study for a Series: Love. This began a cycle he later called the Frieze of Life — A Poem about Life, Love and Death. Frieze of Life motifs such as The Storm and Moonlight are steeped in atmosphere. Other motifs illuminate the nocturnal side of love, such as Rose and Amelie and Vampire. In Death in the Sickroom (1893), the subject is the death of his sister Sophie. The dramatic focus of the painting, portraying his entire family, is dispersed in a series of separate and disconnected figures of sorrow. In 1894, he enlarged the spectrum of motifs by adding Anxiety, Ashes, Madonna and Women in Three Stages.

Around the turn of the century, Munch worked to finish the Frieze. He painted a number of pictures, several of them in larger format and to some extent featuring the Art Nouveau aesthetics of the time. He made a wooden frame with carved reliefs for the large painting Metabolism (1898), initially called Adam and Eve. This work reveals Munch's preoccupation with the "fall of man" myth and his pessimistic philosophy of love. Motifs such as The Empty Cross and Golgotha (both c. 1900) reflect a metaphysical orientation, and also echo Munch's pietistic upbringing. The entire Frieze showed for the first time at the secessionist exhibition in Berlin in 1902.


List of major works
1892 - Evening on Karl Johan
1893 - The Scream
1894 - Ashes
1894-95 - Madonna
1895 - Puberty
1895 - Self-Portrait with Burning Cigarette
1895 - Death in the Sickroom
1899-1900 - The Dance of Life
1899-1900 - The Dead Mother
1940-42 - Self Portrait: Between Clock and Bed


http://en.wikipedia.org/wiki/Edvard_Munch

MODERNISMO: UM NOVO OLHAR PARA A CULTURA DO BRASIL

O Modernismo provocou um corte providencial na cultura brasileira da época, e ainda possui grande influência na arte contemporânea brasileira


O Abaporu, Tarsila do Amaral
Modernismo, como todos sabem teve seu ápice cultural na famosíssima semana de arte Moderna de 1922, ocorrida entre 13 e 17 de fevereiro daquele ano, com grande repercussão entre os intelectuais e jornalistas da época, mas sem o objetivo plenamente alcançado, que era o contato das obras modernistas com o povo brasileiro.

Mas o que poucos sabem é que esse movimento cultural teve um panorama mais amplo do que o apresentado naquela semana. O Modernismo como conceito teve início no meio da década de 1910, depois de Oswald de Andrade ter conhecido o Professor Mário de Andrade, e mais tarde com o retorno da Europa por Anita Malfatti e suas exposições de pintura em 1917, bem como o surgimento do escultor Victor Brecheret, que seriam futuramente as bases das artes plásticas da Semana de 1922. O fim do movimento se deu por volta da década de 40, principalmente com o falecimento de Mário de Andrade, em 1945.

E como todo movimento de longa duração, também foi de grande complexidade e ousadia. Esses intelectuais romperam com toda uma forma de fazer arte, totalmente voltada à Europa, seu povo e seu modo de vida. O Modernismo procurou substituir o conceito de raça pelo de cultura, partindo de novos paradigmas, analisando a arte brasileira como algo efetivamente nacional. Isso se deu com um modo de pensar totalmente novo, incorporando o passado e as tradições brasileiras, mas não como formas inertes e sim utilizando esses elementos como novas ferramentas para criação. Essa perspectiva foi uma afronta para os intelectuais mais ortodoxos, pois ia contra a toda uma forma única de pensar e produzir arte. Os modernistas traziam algo impensado até aquele momento: a busca pela valorização do povo brasileiro. Esta seria baseada no aproveitamento também da cultura popular e não apenas utilizar elementos da cultura erudita, centrando no país e suas necessidades, com anseios e projetos próprios e com apelo ao povo, desvinculando-se das outras nações. Esse desejo se manifestou nas obras feitas naquele período, como retratos do mestiço, da favela, do progresso, colocando pela primeira vez a arte com uma função pública e política perante a sociedade.


Antropofagia, Tarsila do Amaral
Outro conceito muito abordado dentro do Modernismo foi a Antropofagia, criado por Oswald de Andrade, através de seu Manifesto Antropófago (1928). Esse conceito colocado por Madeira e Veloso (1999) seria o passado, a tradição, o primitivo como fontes de um lirismo original, matéria-prima para a paródia e para a crítica, incorporando as contradições entre a natureza e a cidade, a realidade urbana com seus elementos mais radicalmente modernos. E tudo isso se constituiria na “devoração antropofágica” de todos esses elementos para se criar uma nova perspectiva para a nossa cultura, deglutindo tudo a seu redor e trazendo algo mais reflexivo e próximo ao Brasil.

Ao analisar a cultura brasileira por este novo parâmetro, valorizando o nosso povo, bem como tudo produzido aqui, os modernistas causaram um impacto muito grande nas pessoas. O objetivo foi aproximar a grande massa representada naquele movimento artístico. Só que isso acabou não ocorrendo, justamente pela população não ter identificado aquilo que diziam representar a eles mesmos, até por não possuir conhecimento daquilo, por ser uma classe iletrada, portanto, sem maior informação sobre o que seria aquele movimento único na arte brasileira. Outro fator foi o alto custo para se ter acesso a essas obras. Exemplo disso foi o alto preço das noites na Semana de Arte Moderna. Ainda que o Teatro Municipal ficasse aberto durante o dia na semana de fevereiro de 1922, os operários estavam trabalhando, portanto, não tinham condições de acompanhar as exposições, palestras, etc.


A boba, Anita Malfatti
Isso, portanto, coloca em questão a real objetividade que o Modernismo propôs na sociedade da época. Era uma busca de ruptura, com vistas ao povo brasileiro, seu passado e tradições, mas sem uma empatia efetiva com os cidadãos pobres da época, apesar de ser um algo revolucionário, com outro olhar a mostrar. Porém, se com o povo o movimento não obteve êxito, não se pode dizer o mesmo em relação ao acervo cultural e a sua importância no desenvolvimento artístico brasileiro, tendo como enorme influência o Modernismo Antropofágico de Oswald de Andrade, Tarsila do Amaral, Raul Bopp, entre outros já citados. Podemos exemplificar esta influência para a nossa cultura com a Bossa Nova, a Tropicália de Caetano, Gil e a arte daquele período por Oiticica Filho. Lembremos também o modernista Gláuber Rocha com seu Cinema Novo, e posteriormente o movimento musical pernambucano denominado Manguebit. Todos esses períodos representaram plenamente o movimento cultural mais importante de toda a história artística brasileira, afinal o Modernismo nos trouxe uma forma nossa de criarmos a arte brasileira.


bibliografia:
http://www.rabisco.com.br/07/modernismo.htm