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(side 169)
av Birgitte Sauge og Øystein Ustvedt
Fagfellevurdert
(side 170-180)
av Jay A. Clarke
Abstract
In 1927, Munch had a major retrospective exhibition at the National Gallery of Berlin, organized by its Director Ludwig Justi. This article examines the critical reception of this show and the seminal importance of Munch’s production to the inter-war German art community. Three leitmotifs can be discerned in the German reaction to the exhibition: the desire to establish Munch as German; the non-literary (and therefore personal) nature of his artistic project; and the Norwegian artist’s impact on contemporary German art, specifically Expressionism.

Fagfellevurdert
(side 182-193)
av Lidia Głuchowska
Abstract
‘The king of the Bohemia’, a Polish-German writer Stanisław Przybyszewski was the first to consistently promote the work of Edvard Munch. His article ‘Psychical Naturalism’ and his anthology The Work by Edvard Munch (1894) became implicitly the first theory of Expressionism and started research into Munch’s work. Przybyszewski’s novel The Scream (1917/18) and his memoirs My Contemporaries (1926), similar to his early essays on Munch’s masterpiece, build an important context toward its interpretation and open the epoch of its transmedial popularisation in word and image.

Fagfellevurdert
(side 194-205)
av Wenche Volle
Abstract
In 1903 Edvard Munch held an exhibition at the newly refurbished Kunsthandlung P. H. Beyer & Sohn in Leipzig, where Munch had been allocated the gallery’s skylit room. Eighteen paintings, inlaid in a light textile frame, were presented as a frieze in the room. Running as a horizontal band high up on three walls, the frieze essentially became a part of the room as a whole. The article therefore proposes to consider the exhibition as spatial art and examine it in light of the concept of Gesamtkunstwerk. The documentation of the exhibition is a unique source for understanding Munch’s “Frieze of Life” and its spatial representation, even as the paintings highlight the role of the exhibition room at the turn of the twentieth century. The exhibition room played an instrumental role in how Munch developed his art.

Fagfellevurdert
(side 206-217)
av Erik Overaa Mørstad
Abstract
Erik Overaa Mørstad discusses the exchange of ideas and motifs that took place between visual and literary artists in Scandinavia around 1890. In this article he highlights certain instances of this type of dialogue between Edvard Munch and contemporary writers.

Munch’s knowledge of contemporary literature is elucidated. Writers and painters were fascinated by the natural environment and its shifting moods, and by people’s sense of anxiety and isolation. The boundaries between poetry and prose become increasingly blurred. New literary forms emerge, including short pieces in the form of a fragment or prose poem, occasionally with elements of ekphrasis. Munch wrote several pieces in the same period in a not dissimilar vein. He was thus, one can say, a pioneer in the development of Norwegian prose poetry.

Fagfellevurdert
(side 218-229)
av Øystein Ustvedt
Abstract
Erik Overaa Mørstad discusses the exchange of ideas and motifs that took place between visual and literary artists in Scandinavia around 1890. In this article he highlights certain instances of this type of dialogue between Edvard Munch and contemporary writers.

Munch’s knowledge of contemporary literature is elucidated. Writers and painters were fascinated by the natural environment and its shifting moods, and by people’s sense of anxiety and isolation. The boundaries between poetry and prose become increasingly blurred. New literary forms emerge, including short pieces in the form of a fragment or prose poem, occasionally with elements of ekphrasis. Munch wrote several pieces in the same period in a not dissimilar vein. He was thus, one can say, a pioneer in the development of Norwegian prose poetry.

Fagfellevurdert
(side 230-238)
av Øivind Storm Bjerke
Abstract
The article discusses the framework for the production of scholarly articles in the light of the definition of research derived from implementing of the Frascati Manual within the humanities. The article is based on a review of 31 European and American catalogues from 2002–2013.

There is an overwhelming majority of scholars most frequently published in these catalogues are associated with Norwegian institutions. A close collaboration between the Munch Museum, National Museum of Art, Architecture and Design and the University of Oslo raises the question of how the requirements for independent review of articles are administered.

There is a fundamental flaw in the existing structure that so many of the articles are written and reviewed by agents connected to a network of a few institutions and few researchers.

  • ISSN Online: 1504-3029
  • ISSN Print: 0023-5415
  • Utgiver: Universitetsforlaget
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