On view through October 31 are over 60 prints by the troubled Norwegian virtuoso (1863-1944), who obsessed over sick children, jealousy, death, insanity, and the fair sex. Affected by the passing of his sisters and mother, Munch saw women as mediums of agony and death. His work incorporates ghostly women figures that expose his inner fixation on these subjects. He is able to seamlessly connect subject matter that is so seemingly disconnected (girls, mortality, anxiety). Haunted. Dark. Seductive. Munch would often revisit previous works, changing the colors and cropping some, so for many of his pieces there is more than one version.
Above: The Kiss, 1895. Etching, open bite, drypoint and aquatint on card.
My picks from the show:
The Scream, 1895. Lithograph on tan card.
Vampire II, 1895/1896-1902. Lithograph in black in sawn woodblock piece in red with hand coloring on China paper.
Toward the Forest I, 1897 c/. 1913. Color woodblock, from two woodblocks, sawn into three pieces, in blue, green, and yellow beige on wove paper.
Toward the Forest I, 1897/1913-1915. Color woodcut, from two woodblocks, one sawn into three pieces, in green, pink, yellow, black, chartreuse, and violet on imitation vellum paper.
Toward the Forest II, 1915. Color woodcut, from one woodblock sawn into three pieces, in brick red, black, olive green, geenish yellow, and violet on imitation vellum paper.
Madonna, 1895/96. Lithograph in black with hand coloring on green card.
Madonna, 1895/1902. Color lithograph in black and red, and sawn woodblock or stencil in blue on China paper.
Self-Portrait with Skeleton Arm, 1895. Lithograph.
Waves of Love, 1896. Lithograph in black with hand coloring on thick whitish China paper.
Ashes I, 1894. Oil on canvas.
No comments:
Post a Comment