From the setting of twilight and sickbeds to the distorted world of Scream, the Norwegian painter painted the prophetic masterpieces that were both brutal and subtle and attractive.
At the beginning of the exhibition, the painter painted The Scream, which appeared calm and alert in Edvard Munch 1895, but only two arms were white bones. He portrayed his own ailing condition. The picture was painted in Munch only 32 years old.
It is not difficult to understand why Munch feels cursed. Growing up in Norway in the 19th century, covering him was illness and death. His mother died of tuberculosis since he was 5 years old. Munch’s mother died early, raising Munch is a father with psychological illness. Death became the main topic in many of his works, such as the Dead Mother and Child, describing the child with a horrified face like a doll by the mother. death; or the painting of The Sick Child, portraying Munch’s beloved sister, Sophie Johanne in her hospital bed, who died from tuberculosis at the age of 15.
Munch’s father, a fanatic, always thinks that all is God’s punishment. His father’s way of teaching has partly influenced his view, his later works often have dark, intense colors, showing the suffering of human suffering and emotional suppression in mind. Munch became an outstanding painter of the Symbolic and Expressive school. His writings are directed to the interior of the scene, often in contrast to the mere appearance, he draws on human psychology and complex emotions, thus becoming the leader of modern psychology.
As in the Vampire II, a picture of a girl with crimson hair like bloody seaweed, sucking blood from her lover. The painting was born in 1895, before Bram Stoker’s Dracula was published. The scene was somewhat scary, but it was gentle, like the whisper of the girl’s apology.
Munch’s art is addictive by violence but at the same time extremely elegant. In Two Women on the Shore, on the warm blue coast under the golden sunset is a young woman in a white dress, next to a doll in a black cloak with an expressionless face. Death can be right next to you even when you are in the middle.
This exhibition focuses on his works on paper, all are great technical masterpieces with splendid colors that are weird. His sexy Madonna was a chaotic dream made of blue and black, and a thick red frame, delicately sketched.
At the end of the exhibition, we come to the bay where nature is expressed in an infinite scream. Munch’s marvelous stone print in 1893 was hung on posters and media ads in London for months.
The Scream hits you fiercely like a real bomb. The sky was tilted by twisted wooden veins. The black ink turns the coast into waves of obsession, crystallizing in the solitary church tower. The vibrations echoed and spread in space, making you feel the oppressive confinement torturing Munch’s famous figure, symbolizing contemporary inner.
It is the artworks that have removed the gap between us. Munch makes us feel pain but at the same time inspiring. The exhibition helps us understand why people need art. Because there is another way we can hear each other’s screams?