Artwork by Edvard Munch. Contributions by Klaus Albrecht Schröder. Text by Christoph Asendorf, Marian Bisanz-Prakken, Dieter Buchhart, Antonia Hoerschelmann, Frank Høifødt, Iris Müller-Westermann, Gerd Woll.
Clothbound, 9.75 x 11.5 in. / 416 pgs / 272 color / 6 bw | 5/2/2003 | Not available $75.00
Published by Skira. Edited with text by Birgitte Sauge, Mai Britt Guleng, Jon-Ove Steihaug.
Though The Scream is undoubtedly his best-known piece, Edvard Munch’s body of work extends far beyond this silent howl to encompass a wide practice across paint, pastel and print. The joint effort of ten scholars, and first published in 2013 to great acclaim, this volume offers a comprehensive survey of Munch’s inimitable contributions to modern art. The publication covers many aspects of Munch’s versatile artistic practice, with a focus on specific themes and phenomena that characterize his work. The texts offer a fresh look at Munch’s oeuvre in the context of modernism, highlighting the issues that the artist grappled with throughout his career: the relationship between art and reality, the artist and the public, and Munch’s misgivings about modernism and his place in the world. With a thorough bibliography, a timeline of the artist’s life, and excerpts of Munch’s own writing, this monograph proves to be a most comprehensive tribute to the artist.
Edvard Munch (1863–1944) was born in rural Norway before his parents moved to Oslo (then called Kristiana). He grew up under the influence of frequent family illness, both mental and physical, and would later use his art as a means of expressing his turbulent psychological state. He studied at the Royal School of Art and Design in Oslo and spent time in Paris and Berlin. Most of his work managed to survive the Nazi purges of “degenerate art.”
Published by Museo Thyssen-Bornemisza. Text by Paloma Alarcó, Patricia G. Berman, Jon-Ove Steihaug.
Edvard Munch: Archetypes brings together a thematic selection of 80 works -- in full-page, museum-quality reproductions -- that examine the painter’s long and prolific career and reveal his ability to synthesize the obsessions of modern humanity. This is the first book to emphasize the wide spectrum of emotional archetypes through which Munch reveals various existential obsessions such as love, desire, jealousy, angst and death, and states of mind including melancholy, passion and submission. Each section of the volume is structured around these archetypes, showing the representation of the human figure in various settings: the seaside, the sickroom, the 'green room,' the woods, the night and the artist’s studio. It combines early works with late versions and paintings with graphic works so as to underscore the thematic and existential circularity of Munch’s oeuvre.
The art of Edvard Munch (1863–1944), who is today considered one of the forefathers of modern art along with Cézanne, van Gogh and Gauguin, developed from a distinctive blend of tradition and experimentation. From the beginnings of his career, the Norwegian artist created a particular mythology for modern times that was in close step with the art, literature and thought of his contemporaries. His aesthetic language, which evolved from Symbolism to Expressionism, deployed various strategies to construct a pictorial narrative of the most universal subjects.
Edvard Munch (1863–1944) was born in Løten, Norway, and studied design and art in Oslo. In May of 1885 he traveled to Paris on a scholarship, and after the deaths of his sister and father the following year, he began to spend most of his time in France. His painting first achieved fame with an 1892 exhibition in Berlin, which also led directly to his influence upon the German Expressionists. Despite struggles with alcohol and mental health, Munch lived to the age of 80.
PUBLISHER Museo Thyssen-Bornemisza
BOOK FORMAT Hardcover, 9 x 11 in. / 232 pgs / 156 color / 23 bw.
PUBLISHING STATUS Pub Date 2/23/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 77
PRODUCT DETAILS ISBN 9788415113737TRADE List Price: $75.00 CDN $99.00 GBP £65.00
AVAILABILITY In stock
in stock $75.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hatje Cantz. Edited by Lars Toft-Eriksen. Text by Patricia G. Berman, David Lomas, Oystein Sjastad, Lars Toft-Eriksen.
What is the critical relevance of Edvard Munch (1863–1944) to contemporary society? This publication places Munch's oeuvre in dialogue with works by the Norwegian-born, New York–based artist Bjarne Melgaard (born 1967), whose art has often provoked controversy—as was the case with Munch, in his lifetime. Their bodies of creative work are related in numerous ways. Both have worked with reference to their own biography; there is also an artistic kinship between the two in terms of their painterly idioms, motifs and themes. Addressing subjects such as sexuality, gender, death, loneliness and alienation, they both address key issues of modern society. The catalogue explores the dystopian critique of civilization that underlies their respective oeuvres. In addition to a wide range of well-known works by both artists, it presents new pieces by Melgaard that explore the themes he considers of particular importance in Munch's oeuvre.
Love, pain and death; passion, loneliness and sorrow--the entire oeuvre of Edvard Munch (1863–1944) revolves around the fundamental experiences of human existence. Munch is regarded as one of the trailblazers of the Expressionist currents that informed European painting in the early twentieth century. Throughout, Munch’s graphic works were not by-products but rather a central element of his oeuvre, from the first etchings in 1894 to the lithographs he made just before his death. Among the masterpieces included in this representative volume of images and texts are graphic versions of Munch’s world-famous subjects in the form of large-format color lithographs, etchings, woodcuts, hand-colored prints and experimental prints on colored paper. Munch’s graphic works, in which he achieved a persuasive condensation of his major Symbolist allegories, captivate the viewer with their subtle color palettes and their expressive sense of reduction. Edvard Munch (1863–1944) was born in Loton, Norway, and studied design and art in Oslo. In May of 1885 he traveled to Paris on a scholarship, and after the deaths of his sister and father the following year, he began to spend most of his time in France. His painting first achieved fame--or notoriety--with an 1892 exhibition in Berlin, which also led directly to his influence upon the German Expressionists. Despite struggles with alcohol and mental health, Munch lived to the age of 80.
Published by Hatje Cantz. Edited by Dieter Buchhart. Text by Anne-Brigite Fonsmark, Gerd Woll, Gry Hedin.
For the celebrated Norwegian painter Edvard Munch (1863–1944), one of the pioneers of Expressionism, the vibrant modern city of Copenhagen was both a bridge to Europe and an occasional refuge. Munch's lively exchanges with Danish artists and authors led to further intensive encounters with the art of Paul Gauguin, and also with Impressionism, Symbolism and Synthetism. During an existential crisis that began around the turn of the century and lasted until 1908, Munch time and again returned to Denmark. Rich in fascinating material, this book is the first to take a thorough look at Munch's complex relationship to this Scandinavian country, demonstrating the extent to which his Danish contacts influenced his reception of contemporary French painting, as well as his own early oeuvre. This volume presents lesser-known works made in and around Copenhagen and during Munch's seven-month stay in a psychiatric clinic.
Published by Hatje Cantz. Edited by Dieter Buchhart. Text by Oivind Storm Bjerke, Ulf Küster, Philippe Büttner.
Though he is more often viewed as a semi-lunatic Symbolist or proto-Expressionist, the great Norwegian artist Edvard Munch (1863-1944) was in fact a forerunner of much Modern art. His works concentrate on the human dramas of love and death, and on contemporary conditions of claustrophobia and alienation--or what he called "the modern life of the soul"--frequently deploying contemporary effects to depict this condition. He worked in paint, printmaking and photography (though he once wrote that "the camera cannot compete with a brush and canvas, as long as it can't be used in heaven and hell"). Edvard Munch: Signs of Modern Art assesses the significance of Munch's oeuvre as a highly independent contribution to Modern art, drawing on more than 100 paintings, as well as 60 drawings and prints. In flouting the boundaries between the genres of painting and printmaking, in his work with photography and film, and through his emphasis on process--for example exposing his paintings to outdoor weather--Munch opened up a turn-of-the-century view of the future.
Published by The Museum of Modern Art, New York. Edited by Kynaston McShine. Essays by Patricia Berman, Reinhold Heller, Elizabeth Prelinger and Tina Yarborough.
In an exploration of modern existential experience unparalleled in the history of art, Edvard Munch, the internationally renowned Norwegian painter, printmaker and draftsman, sought to translate personal trauma into universal terms and in the process to comprehend the fundamental components of human existence: birth, love and death. Inspired by personal experience, as well as by the literary and philosophical culture of his time, Munch radically reconceived the given world as the product of his imagination. This book explores Munch's unique artistic achievement in all its richness and diversity, surveying his career in its entire developmental range from 1880 to 1944. The comprehensive volume features a lavish selection of color plates, an introduction by Kynaston McShine, Chief Curator at Large at The Museum of Modern Art, and essays by Patricia Berman, Reinhold Heller, Elizabeth Prelinger, and Tina Yarborough, as well as in-depth documentation of Munch's art and career. It will accompany the most extensive exhibition of Munch's art in America in three decades.
Published by Royal Academy Publications. Text by Iris Müller-Westermann.
This handsome volume, the catalogue of an exhibition at the Moderna Museet, Stockholm, the Munch Museet, Oslo, and the Royal Academy of Arts, London, contains beautiful reproductions of 150 paintings, drawings and rarely seen photographic self-portraits of startling originality. The curator and scholar Iris Muller-Westermann sets them in context in her incisive account of the artist's life and career, and Merete Mazzarella examines how many of Munch's preoccupations remain relevant today. Edvard Munch: By Himself sheds light for the first time on the uniquely wide range of Munch's self-portraits, enabling us to trace the visual self-reflections of one of the most influential figures in modern art.
Published by Hatje Cantz. Artwork by Edvard Munch. Contributions by Klaus Albrecht Schröder. Text by Christoph Asendorf, Marian Bisanz-Prakken, Dieter Buchhart, Antonia Hoerschelmann, Frank Høifødt, Iris Müller-Westermann, Gerd Woll.
Loneliness, jealousy, love, and death. There is hardly another artist who explored the basic experiences of human life and his own personal angst so forcefully and in such unsettling images as the Norwegian painter and graphic artist Edvard Munch. Munch's depictions of the crisis of the individual positioned his work as representative of modern consciousness, and the form he used to express this inner drama set him as a precursor and founder of expressionism. Munch's entire creative period is characterized by a continuous return to his central, melancholic motif of the human condition. In essays by well-known authors in the field, this volume provides a unique, complex, and expansive analysis of the emergence, development, and inner fabric of theme and variation in Munch's oeuvre. Different versions and renditions of paintings like The Scream, Melancholy, and Jealousy are presented side by side for a renewed view of these icons of modernism. Additionally, the book examines the close relationship between the artist's graphic and painterly works, acknowledging that Munch's interest in motif was not limited to painting, but that it translated meaningfully into printed media such as lithographs, etchings, and woodcuts, all documented in this book.