After his greatest human panorama showing Paddington railway station, he painted two moralising series, similar to those of Hogarth.
His love of rhythm and symmetry became clear in his figurative and landscape paintings, and attained international success at last.
His Symbolism or Parallelism continued to develop in figurative works, whilst his landscape included breathtaking views over Lake Geneva, and in the Bernese Alps.
Fascinating paintings showing his transition from realism to Symbolism, emphasising symmetry and rhythm in society.
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.