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Important correlations exist between The Scream, the famous painting by Edvard Munch, and a late publication by Charles Darwin. The natural sciences have long been recognized as an important context of the artworks of Munch, but the fact that such references imply that Munch took part in a redefinition of man and his relation to nature has only rarely been considered. Inquiring into this, the article will situate Munch in this context.
Edvard Munch’s two monumental, posthumous portraits of the German philosopher Friedrich Nietzsche have been perceived by scholars as aberrant ideas – or fantasy depictions – austerely different from other portraits by the artist. The succession and hierarchy of the works have been based on the assumption that the painting in the Munch-museum is either a forerunner or a later repetition of the motif in the Thielska Gallery, Stockholm. This article presents new perspectives, separating the motifs, and explaining the influence contemporary Nietzsche-iconography in the Weimar-milieu had on Munch.
Rosalind E. Krauss’s latest book, Perpetual Inventory (2010), is a collection of texts published between 1966 and 2008. The essays are collected from journals and exhibition catalogues and there are also a few new ones. The book therefore becomes a presentation and summary of Krauss’s influential work as a modernist art historian. This essay tries to read Krauss’s modernism as a continuation of, rather than a break from, Clement Greenberg’s formalist modernism and argues that Krauss creates an expanded field for formalist analysis of artworks.