Who is the wanderer and painter in Thomas Fearnley’s landscapes? Does he have any deeper purpose, or was he just a graphical signature?
Norway
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.
Less well known outside Norway, later works include vast canvases for Oslo University, and many vibrant and vigorous paintings of nudes and landscapes.
In which he paints The Scream, shoots himself in the hand, exhibits The Frieze of Life, and paints some monumental works – in scale and intent.
Some of his last magical paintings of the Norwegian mountains and farms, and a brief overview of the development of his prints.
The Eclectic Light Company 