Oppgrader til nyeste versjon av Internet eksplorer for best mulig visning av siden. Klikk her for for å skjule denne meldingen
Ikke pålogget
{{session.user.firstName}} {{session.user.lastName}}
Du har tilgang til Idunn gjennom , & {{sessionPartyGroup.name}}
Leder
Open access
(side 4-5)
av Patricia G. Berman
It is an honor to edit the first digital edition of , to focus this issue on the art of Edvard Munch, and to do so in collaboration with the “Munch ...
Fagfellevurdert Artikkel
Open access
Vitenskapelig publikasjon
(side 6-19)
av Allison Morehead
In a long text published in 1906, the year after Edvard Munch held a major exhibition in Prague, the Swiss critic William Ritter mentioned that some “friends” of his, “young pranksters ...
Sammendrag

This article considers the significance of the art critic William Ritter’s airing of a comparison between Munch and Velázquez in a lengthy text written in the wake of Munch’s major solo exhibition in Prague in 1905. In suggesting that Munch might be a “hospital Velazquez,” Ritter engaged the work of Julius Meier-Graefe and R.A.M. Stevenson, but offered an ambivalent view of the emerging histories of modern art.

Open access
Vitenskapelig publikasjon
(side 20-33)
av Elin Kittelsen
In the vast maze of texts left behind upon the death of Edvard Munch, the story (1910) stands out as the only work of literary fiction he ever published. The text ...
Sammendrag

Is Edvard Munch’s Alpha and Omega (1908–10) a fable of the past? Traditionally considered a work pointing backwards, to the 1890s, this article provides examples of how the text-image portfolio also can be read as a myth of the contemporary, deeply embedded in the 20th century. The close reading also shows how Munch explores central artistic ideas in writing that are not found elsewhere in his ouvre, suggesting the potential of a more independent approach to his texts. 

Open access
Vitenskapelig publikasjon
(side 34-47)
av Reinhold Heller
On December 12, 1938, Edvard Munch celebrated his 75 birthday. Several days later, in the Oslo newspaper the following succinct announcement from the artist appeared: “Since it is difficult for me to thank ...
Sammendrag

In collaboration with photographer Ragnvald Væring, in 1938 Edvard Munch had himself photographed on the occasion of his 75th birthday. More than simple commemorations or visual documentation of his continuing life and health, the photographs – intended for publication – reveal Munch not as artist but as curator, concerned with the preservation of his art at a time when his work was removed from German museums and his position in history appeared threatened.

Open access
Vitenskapelig publikasjon
(side 48-74)
av Mille Stein
Rolf Stenersen var den første som brukte begrepet «hestekur» om Munchs væreksponering av sine malerier. Senere har malerikonservatorer og kunsthistorikere tolket fugleskitt, vannskjolder, avskallinger, forvitret maling, hull og rifter på ...
Sammendrag

997 Munch paintings from Edvard Munch’s estate (The Ekely Collection) were examined to evaluate the ‘Kill-or-Cure’ theory; that Munch exposed paintings to the weather in order to change their appearance. The findings were related to written sources, photo­graphs and Munch’s exhibition strategies. The conclusion is that Munch most likely did not use the weather as an artistic instrument, and that the condition of many of the paintings in The Ekely Collection is due to practical circumstances, poor storage, and the artist’s extraordinary negligence.

Open access
Vitenskapelig publikasjon
(side 75-95)
av Patricia G. Berman
Edvard Munch’s 1895 lithographic is one of Munch’s most riveting images (ill. 1). In it, his head floats starkly against the velvety black background, detached and surmounting a white band ...
Sammendrag

This article examines the surface of Edvard Munch’s Self Portrait (1895), one of the artist’s most emblematic images, proposing ways of thinking about the lines scratched into the blackness surrounding the artist’s head. Assuming that the surface is a place of negotiation among the artist, the material, and the viewer, it examines ways in which the almost invisible lines trouble the reading of the motif.

Bokanmeldelser
Open access
(side 101-103)
av MaryClaire Pappas
in conjunction with an exhibition of the same name (Ateneum Art Museum, Helsinki; National Museum of Art, Architecture and Design, Oslo; National Gallery of Denmark, Copenhagen),fills a void in ...
Idunn bruker informasjonskapsler (cookies). Ved å fortsette å bruke nettsiden godtar du dette. Klikk her for mer informasjon