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Munch’s pictorial worlds – the initial impetus for modernism
Edvard Munch’s radical modernity in painting was a challenge for
his contemporaries. This applied in particular to the art scene in
Berlin around 1900 which the Norwegian Symbolist artist influenced
profoundly. In return, he received support there and was able to
continue to develop his work. The publication is lavishly
illustrated and describes knowledgeably the story of Munch and
Berlin. In 1892 the Association of Berlin Artists invited the
still-unknown Edvard Munch (1863–1944) to an exhibition. The
public was shocked by the colourful, sketch-like pictures. The
artist enjoyed the furore and moved to the city on the Spree, where
he repeatedly sojourned until 1908. Here he learned the techniques
for printed graphics and presented for the first time paintings in
several continuous series which would become central to his oeuvre.
In Berlin, before long, the concept of the “Magic of the North”
(Stefan Zweig) was no longer associated with romantic or
naturalistic fjord landscapes, but with Munch’s psychologically
concentrated pictorial worlds.
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