The Norwegian landscape painter who loved his fjords invites Munch to Berlin, and causes a furore. It makes Munch’s career, and changes the history of art.
Strange coincidences build a chain of events. From the Baltic German who painted the coast, to a Norwegian who sold paintings of Norwegian fjords in Germany.
More superb coastal nocturnes by Aivazovsky, Atkinson Grimshaw, Winslow Homer, Edvard Munch, and others.
Known best for his watercolours of his wife and family in their ideal and idyllic Swedish home, his work is far richer and more varied.
An overview, comments on its narrative nature, and indexes to the previous articles about the Frieze.
Last of the four sections in the Frieze, it consists almost entirely of paintings added since the first version. These show episodes from Munch’s own life.
With the love affair over, the Frieze tackles the resulting anxiety, in which the key themes in its first painting are developed in detail.
The second section maintains the botanical metaphor, in which love flowers, and passes. Six superb paintings explain.
The first six paintings in his mature 1902 version of the Frieze explore the early development of love, told from a very personal point of view.
Each of the paintings exhibited by Munch in 1895 tells a part of his story of ‘the life of the soul’, of love between man and woman. And of Munch’s own life.