Edvard MUNCH (1863-1944)
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See also : Art on paper Man and woman Groups
Chronology : 19th century 1890-1899 1894 1895 1902 1904 1907
See also : Art on paper Man and woman Groups
Chronology : 19th century 1890-1899 1894 1895 1902 1904 1907
Edvard Munch: A Psychiatric Lens on Life and Art
Edvard Munch (1863–1944), the Norwegian pioneer of Expressionism, produced work deeply intertwined with themes of anxiety, depression, death, isolation, and existential dread. His art serves as a visual diary of psychological turmoil, shaped by profound personal traumas and mental health struggles. Retrospective psychiatric analyses—drawing from his diaries, biographies, and clinical history—suggest a complex profile involving hereditary vulnerabilities, affective disorders, and possible psychotic features.
Early Life and Traumatic Foundations
Munch's childhood was marked by repeated loss and illness, fostering a lifelong fear of death and madness. His mother died of tuberculosis when he was 5, followed by his favorite sister Sophie at age 15 (also from tuberculosis). His brother Andreas died young from pneumonia, and another sister, Laura, was institutionalized for schizophrenia. His father, a strict military doctor with depressive tendencies and religious fanaticism, instilled guilt and dread in the household. Munch himself suffered chronic illnesses, including bronchitis and rheumatic fever, often confining him indoors where he began drawing.
These experiences led Munch to describe illness, madness, and death as "black angels" at his cradle. He feared inheriting "seeds of madness," a common 19th-century concern with hereditary insanity. Psychiatric interpretations link this to developmental trauma, contributing to chronic anxiety, depressive episodes, and possible narcissistic traits impairing intimate relationships.
Melancholy (1894–96) exemplifies early depressive themes: a brooding figure by the shore, evoking isolation and introspection amid personal losses.
Mental Health Struggles and Breakdown
Munch experienced visual and auditory hallucinations from childhood, manic-like behaviors (e.g., impulsive travel across Europe), heavy alcoholism, paranoia, and suicidal ideation. Relationships were turbulent—often involving jealousy, violence (he once shot off part of his finger in a dispute), and fear of women as both seductive and destructive (archetypes of "Madonna" and "vamp").
In 1908, at age 45, a severe breakdown—exacerbated by alcohol, hallucinations, and paranoia—led to voluntary admission to a Copenhagen clinic. Treated with rest, diet, and nonconvulsive electrotherapy, he emerged sober and more stable, entering a productive later phase.
Modern diagnoses vary:
His Madonna (1894–95) series blends ecstasy and morbidity, reflecting ambivalent views on sexuality and femininity amid psychological conflict.
Art as Psychological Expression
Munch's "Frieze of Life" series explores love, anxiety, and death. His Expressionist style—distorted forms, vivid colors, swirling lines—externalizes inner states rather than realistic depiction.
Legacy and Recovery
After 1909, Munch lived reclusively, achieving recognition while avoiding alcohol. His later work retained emotional depth but gained vitality. Art became therapeutic—transforming suffering into universal symbols.
Munch's oeuvre illustrates how trauma and mental illness can fuel profound creativity, making visible the invisible burdens of the human mind. His raw depictions of anxiety and despair remain resonant, offering insight into psychological vulnerability while transcending personal pathology.
Edvard Munch (1863–1944), the Norwegian pioneer of Expressionism, produced work deeply intertwined with themes of anxiety, depression, death, isolation, and existential dread. His art serves as a visual diary of psychological turmoil, shaped by profound personal traumas and mental health struggles. Retrospective psychiatric analyses—drawing from his diaries, biographies, and clinical history—suggest a complex profile involving hereditary vulnerabilities, affective disorders, and possible psychotic features.
Early Life and Traumatic Foundations
Munch's childhood was marked by repeated loss and illness, fostering a lifelong fear of death and madness. His mother died of tuberculosis when he was 5, followed by his favorite sister Sophie at age 15 (also from tuberculosis). His brother Andreas died young from pneumonia, and another sister, Laura, was institutionalized for schizophrenia. His father, a strict military doctor with depressive tendencies and religious fanaticism, instilled guilt and dread in the household. Munch himself suffered chronic illnesses, including bronchitis and rheumatic fever, often confining him indoors where he began drawing.
These experiences led Munch to describe illness, madness, and death as "black angels" at his cradle. He feared inheriting "seeds of madness," a common 19th-century concern with hereditary insanity. Psychiatric interpretations link this to developmental trauma, contributing to chronic anxiety, depressive episodes, and possible narcissistic traits impairing intimate relationships.
Melancholy (1894–96) exemplifies early depressive themes: a brooding figure by the shore, evoking isolation and introspection amid personal losses.
Mental Health Struggles and Breakdown
Munch experienced visual and auditory hallucinations from childhood, manic-like behaviors (e.g., impulsive travel across Europe), heavy alcoholism, paranoia, and suicidal ideation. Relationships were turbulent—often involving jealousy, violence (he once shot off part of his finger in a dispute), and fear of women as both seductive and destructive (archetypes of "Madonna" and "vamp").
In 1908, at age 45, a severe breakdown—exacerbated by alcohol, hallucinations, and paranoia—led to voluntary admission to a Copenhagen clinic. Treated with rest, diet, and nonconvulsive electrotherapy, he emerged sober and more stable, entering a productive later phase.
Modern diagnoses vary:
- Bipolar disorder with psychosis → Supported by manic episodes, depression, hallucinations, and hospitalization.
- Schizophrenia (possibly early-onset, comorbid with alcohol use disorder) → Based on persistent hallucinations, paranoia, and family history.
- Other suggestions → Severe anxiety disorders, depression, borderline traits, or narcissistic personality from trauma.
His Madonna (1894–95) series blends ecstasy and morbidity, reflecting ambivalent views on sexuality and femininity amid psychological conflict.
Art as Psychological Expression
Munch's "Frieze of Life" series explores love, anxiety, and death. His Expressionist style—distorted forms, vivid colors, swirling lines—externalizes inner states rather than realistic depiction.
- The Scream (1893) → Iconic symbol of modern anxiety. Inspired by a panic attack/hallucination: "I sensed an infinite scream passing through nature." The figure (often seen as autobiographical) clutches its skull-like head against a blood-red sky, embodying existential dread, depersonalization, and primal terror. Psychoanalytically, it represents unmediated unconscious anguish; culturally, alienation in industrialized society.
Legacy and Recovery
After 1909, Munch lived reclusively, achieving recognition while avoiding alcohol. His later work retained emotional depth but gained vitality. Art became therapeutic—transforming suffering into universal symbols.
Munch's oeuvre illustrates how trauma and mental illness can fuel profound creativity, making visible the invisible burdens of the human mind. His raw depictions of anxiety and despair remain resonant, offering insight into psychological vulnerability while transcending personal pathology.
Vincent van Gogh (1853–1890) exerted a significant one-way influence on Edvard Munch (1863–1944), even though the two artists never met.
Van Gogh died by suicide in 1890, before Munch’s international breakthrough, and there is no evidence that Van Gogh was aware of the younger Norwegian. Munch, however, encountered Van Gogh’s work in exhibitions (possibly as early as the late 1880s in Paris, and more extensively as Van Gogh’s posthumous fame grew), admired it deeply, and later explicitly acknowledged the example it set.
Parallel Lives and Shared Contexts
Both began painting seriously around 1880, came from Protestant backgrounds with strong paternal influences, and experienced personal suffering (mental health struggles, isolation, and for Munch, early family deaths from illness). In the mid-to-late 1880s they independently absorbed French innovations in Paris—Impressionism (Monet’s light and color), Neo-Impressionism (Seurat/Pissarro), Manet, Toulouse-Lautrec, and especially Paul Gauguin’s bold color, outlines, and Symbolist approach. Both moved beyond naturalism toward highly personal, expressive styles that prioritized inner emotion over objective appearance.
They shared thematic concerns that later defined early Expressionism: the intensity of human emotion and suffering, the spiritual or “screaming” quality of nature, cycles of life/death/fertility, self-portraiture as psychological revelation, and the use of color and brushwork as emotional forces rather than descriptive tools. Van Gogh’s thick, rhythmic impasto and swirling forms find echoes in Munch’s more fluid, sinuous lines and symbolic color (though Munch’s application is often thinner and more planar).
Specific Influences and Parallels
Munch is documented as having seen numerous Van Gogh works. Curators of the major 2015 Munch: Van Gogh exhibitions (Munch Museum, Oslo, and Van Gogh Museum, Amsterdam) identified at least 100 paintings Munch likely encountered. He emulated aspects of Van Gogh’s approach in composition, expressive mark-making, and the treatment of landscape as a vehicle for mood.
Notable connections include:
Limits of the InfluenceThe relationship is not one of direct imitation. Many parallels arise from shared sources (French modernism, Gauguin, the Symbolist climate) and convergent temperaments rather than strict derivation. Munch developed a more planar, graphic, and overtly symbolic style, often with greater emphasis on eroticism, jealousy, and the femme fatale archetype (as in Madonna and Vampire), while Van Gogh retained a stronger link to observed nature even at his most intense. Munch’s Frieze of Life motifs crystallized in the early 1890s amid Berlin’s bohemian circles, after Van Gogh’s death.
Broader Impact
Together, Van Gogh and Munch were claimed as foundational by the German Expressionists (e.g., Die Brücke group around 1905 and the 1912 Sonderbund exhibition in Cologne). Their emphasis on subjective intensity, distorted form, and emotional color helped open the path from Post-Impressionism and Symbolism to full Expressionism. Joint exhibitions, especially the 2015 shows, have underscored this kinship while clarifying that Munch actively looked to Van Gogh as a model of artistic dedication and expressive freedom.
In short, Van Gogh provided Munch with a powerful precedent for channeling personal turmoil and a vital response to nature into radical, emotionally charged painting. Munch absorbed and transformed that example into his own distinct vision, ensuring both artists became enduring icons of modern art’s turn toward the inner life.
Van Gogh died by suicide in 1890, before Munch’s international breakthrough, and there is no evidence that Van Gogh was aware of the younger Norwegian. Munch, however, encountered Van Gogh’s work in exhibitions (possibly as early as the late 1880s in Paris, and more extensively as Van Gogh’s posthumous fame grew), admired it deeply, and later explicitly acknowledged the example it set.
Parallel Lives and Shared Contexts
Both began painting seriously around 1880, came from Protestant backgrounds with strong paternal influences, and experienced personal suffering (mental health struggles, isolation, and for Munch, early family deaths from illness). In the mid-to-late 1880s they independently absorbed French innovations in Paris—Impressionism (Monet’s light and color), Neo-Impressionism (Seurat/Pissarro), Manet, Toulouse-Lautrec, and especially Paul Gauguin’s bold color, outlines, and Symbolist approach. Both moved beyond naturalism toward highly personal, expressive styles that prioritized inner emotion over objective appearance.
They shared thematic concerns that later defined early Expressionism: the intensity of human emotion and suffering, the spiritual or “screaming” quality of nature, cycles of life/death/fertility, self-portraiture as psychological revelation, and the use of color and brushwork as emotional forces rather than descriptive tools. Van Gogh’s thick, rhythmic impasto and swirling forms find echoes in Munch’s more fluid, sinuous lines and symbolic color (though Munch’s application is often thinner and more planar).
Specific Influences and Parallels
Munch is documented as having seen numerous Van Gogh works. Curators of the major 2015 Munch: Van Gogh exhibitions (Munch Museum, Oslo, and Van Gogh Museum, Amsterdam) identified at least 100 paintings Munch likely encountered. He emulated aspects of Van Gogh’s approach in composition, expressive mark-making, and the treatment of landscape as a vehicle for mood.
Notable connections include:
- Starry nights and nocturnal skies: Van Gogh’s Starry Night over the Rhône (1888) is widely seen as an influence on (or at least a parallel to) Munch’s later Starry Night (1922–24). Both convey a vibrating, almost cosmic intensity in the night sky.
- Figures in landscape / bridges and anxiety: Visual affinities exist between works such as Van Gogh’s The Bridge at Trinquetaille (1888) and Munch’s The Scream (1893 versions), with solitary or tormented figures set against distorted, emotionally charged environments.
- Portraits and self-portraits: Both favored intense, unflattering close-ups that reveal psychological states rather than idealized likenesses. Munch was particularly inspired by Van Gogh’s portraits.
- Series and cycles: Van Gogh’s idea of related works forming a decorative whole (his Décoration project) resonates with Munch’s Frieze of Life, which he described as a “symphony” or “poem of life, love, and death.”
- Color and brushwork: Van Gogh’s bold, non-naturalistic color and energetic strokes encouraged Munch’s move toward Symbolist/Expressionist distortion, as seen in works from the 1890s onward (e.g., the blood-red skies and swirling forms in The Scream or the rhythmic vegetation in later landscapes).
Limits of the InfluenceThe relationship is not one of direct imitation. Many parallels arise from shared sources (French modernism, Gauguin, the Symbolist climate) and convergent temperaments rather than strict derivation. Munch developed a more planar, graphic, and overtly symbolic style, often with greater emphasis on eroticism, jealousy, and the femme fatale archetype (as in Madonna and Vampire), while Van Gogh retained a stronger link to observed nature even at his most intense. Munch’s Frieze of Life motifs crystallized in the early 1890s amid Berlin’s bohemian circles, after Van Gogh’s death.
Broader Impact
Together, Van Gogh and Munch were claimed as foundational by the German Expressionists (e.g., Die Brücke group around 1905 and the 1912 Sonderbund exhibition in Cologne). Their emphasis on subjective intensity, distorted form, and emotional color helped open the path from Post-Impressionism and Symbolism to full Expressionism. Joint exhibitions, especially the 2015 shows, have underscored this kinship while clarifying that Munch actively looked to Van Gogh as a model of artistic dedication and expressive freedom.
In short, Van Gogh provided Munch with a powerful precedent for channeling personal turmoil and a vital response to nature into radical, emotionally charged painting. Munch absorbed and transformed that example into his own distinct vision, ensuring both artists became enduring icons of modern art’s turn toward the inner life.
1893-1894 Sunrise at Asgardstrand
2021 SOLD for $ 5.3M by Sotheby's
Endeavoring to express the soul, Edvard Munch departed from pictorial reality in the attitude of the characters but also in the landscapes.
From 1889 he enjoyed spending summer and holidays at Åsgårdstrand, a resort south of Christiania.
A Sunrise at Åsgårdstrand features the sun just over the horizon, creating in the sea an unrealistic bright reflection that somehow anticipates the flashes of Clyfford Still and the shearing zips of Barnett Newman. This beam is repeated but weakened in the upper window of the house, creating in this uninhabited scene an emotional link between celestial and human.
This oil on canvas 65 x 89 cm painted in 1893-1894 was sold for $ 5.3M from a lower estimate of $ 2M by Sotheby's on November 17, 2021, lot 16. The image is shared by Wikimedia.
Grok response :
Quote Sotheby's @Sothebys Nov 17, 2021
#AuctionUpdate: Painted during the same year Edvard Munch executed ‘The Scream’, ‘Sunrise in Åsgårdstrand’ sells for $5.3M after a 3-minute bidding battle.
From 1889 he enjoyed spending summer and holidays at Åsgårdstrand, a resort south of Christiania.
A Sunrise at Åsgårdstrand features the sun just over the horizon, creating in the sea an unrealistic bright reflection that somehow anticipates the flashes of Clyfford Still and the shearing zips of Barnett Newman. This beam is repeated but weakened in the upper window of the house, creating in this uninhabited scene an emotional link between celestial and human.
This oil on canvas 65 x 89 cm painted in 1893-1894 was sold for $ 5.3M from a lower estimate of $ 2M by Sotheby's on November 17, 2021, lot 16. The image is shared by Wikimedia.
Grok response :
Quote Sotheby's @Sothebys Nov 17, 2021
#AuctionUpdate: Painted during the same year Edvard Munch executed ‘The Scream’, ‘Sunrise in Åsgårdstrand’ sells for $5.3M after a 3-minute bidding battle.
- The painting "Sunrise in Åsgårdstrand," sold for $5.3 million in 2021, was created by Edvard Munch in 1893, the same year he produced "The Scream," reflecting his intense exploration of nature’s emotional resonance, possibly influenced by a documented panic attack that inspired the latter work’s iconic imagery.
- Art market data from the Artsy Price Database shows that 2021’s fall auction season in New York set a record with $2.6 billion in sales, highlighting a surge in demand for expressionist works like Munch’s, which may correlate with a 2019 study in the Journal of Cultural Economics linking economic uncertainty to increased investment in emotionally charged art.
- The painting’s depiction of a serene coastal scene contrasts with Munch’s darker themes, suggesting a deliberate artistic shift, potentially tied to his recovery in Åsgårdstrand, a Norwegian village known for its therapeutic seaside environment, as noted in historical accounts of his life.
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The Frieze of Life
Edvard Munch’s Frieze of Life (Norwegian: Livsfrisen) is a loose, evolving cycle of paintings (and related prints and drawings) that he regarded as his central life’s work. He described it as “a poem of life, love, and death” and as a series of “decorative pictures, which together would represent an image of life.” It explores the inner psychological and emotional experiences of modern humanity—love’s awakening and decay, anxiety, jealousy, sexuality, illness, and mortality—rather than external narrative or realism.
Munch worked on its motifs obsessively from the late 1880s through much of his career, creating multiple versions of key images. The cycle is not a fixed sequence of specific canvases but a flexible grouping of recurring themes and compositions that he rearranged for exhibitions. A unifying visual motif is often a shoreline or coastal landscape (inspired by Åsgårdstrand, Norway), with the sea as an eternal, restless force behind human dramas under the trees.
Origins and Development
The idea emerged in the late 1880s from literary sketches, drawings, and personal experiences (including early loves and family deaths). By the early 1890s in Berlin, amid Symbolist and bohemian circles, Munch began crystallizing it. In December 1893 he exhibited a small group of six paintings under the title Study for a Series: Love (Studie til en serie: Kjærligheten), including early versions of The Voice, The Kiss, Madonna, Vampire (Love and Pain), a jealousy/melancholy motif, and The Scream (then Despair).
The series expanded through the 1890s. The most definitive public presentation was at the Berlin Secession in 1902, where Munch hung about 22 paintings across four walls under titles roughly translating to:
- The Seeds of Love (Kjærlighetens kime)
- The Flowering and Passing of Love (Kjærligheten som blomstrer og forgår)
- Anxiety of Life (Livsangst)
- Death (Død)
Core Themes and Structure
The cycle progresses roughly from the stirrings of desire through passion’s fulfillment and collapse into isolation, existential dread, and confrontation with death. Key emphases include:
- The ambivalence of love and sexuality (attraction mixed with threat, the femme fatale, creation shadowed by mortality).
- Psychological states externalized through simplified forms, swirling lines, and non-naturalistic color (red for blood/passion, blues and blacks for melancholy and void).
- Personal trauma transformed into universal symbols: family illnesses and deaths (especially sister Sophie’s from tuberculosis), fraught relationships, and modern alienation.
Seeds of Love (awakening desire):
The Voice / Summer Night’s Dream (1893) — a young woman in white listening to an inner call on a moonlit shore.
Eye in Eye / Attraction.
The Kiss.
Madonna (1894–95) — ecstatic nude with red halo, often framed by sperm and a fetus, fusing the sacred, erotic, and mortal.
Flowering and Passing of Love (passion, jealousy, dissolution):
Ashes (1894–95) — aftermath of an encounter, man in despair, woman in white.
Vampire / Love and Pain (1893–94) — woman with flowing red hair embracing/draining a man.
The Dance of Life (1899–1900) — three stages of woman (innocent in white, passionate in red dancing with a man, mourning in black).
Jealousy.
Woman in Three Stages / Sphinx.
Anxiety of Life:
Anxiety.
Evening on Karl Johan Street (1892) — ghostly faces in a crowd.
The Scream (1893 and later versions) — the iconic figure under a blood-red sky hearing “a vast, endless scream through nature.”
Related works like Golgotha.
Death:
Death in the Sickroom (1893).
By the Deathbed / Fever.
Dead Mother and Child.
Metabolism / Life and Death (sometimes seen as a “buckle” closing the cycle, linking growth and decay).
Scenes of hearses or mourning.
Many motifs exist in multiple painted versions, lithographs, woodcuts, and drawings, allowing Munch to refine and disseminate them.
Significance and Legacy
The Frieze marks Munch’s shift from naturalism/Impressionism toward Symbolism and Expressionism. It prioritizes subjective “moods” and “impressions of the life of the soul” over literal depiction. Personal sources (childhood losses, Berlin bohemia involving figures like Dagny Juel and Stanisław Przybyszewski, romantic failures) are elevated into archetypes that resonated with fin-de-siècle anxieties about modernity, gender, and the psyche.
Munch saw it as a continuous panorama rather than discrete stories. He revisited its themes lifelong, even after his 1908–09 nervous breakdown, when his style lightened somewhat. Related decorative projects (University of Oslo Aula paintings, Freia factory frieze) echo its motifs in more public, sometimes more optimistic registers. Today the Frieze of Life is understood as the conceptual core of his oeuvre, with iconic works like The Scream, Madonna, and Vampire standing as its most famous embodiments. It remains a landmark in the visualization of inner experience and existential themes in modern art.
The Scream
The Scream by Edvard Munch has every reason to be the most famous image of modern art.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he was mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he was mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
masterpiece
1893 The Scream of Nature
Nationalmuseet Oslo
The 1893 oil, tempera and pastel on cardboard was the first publicly displayed version.
The image is shared by Wikimedia.
Psychological Analysis of Edvard Munch's The Scream
Edvard Munch's The Scream (original Norwegian title: Skrik, first version 1893; multiple versions exist, including paintings, pastels, and lithographs) stands as one of the most potent symbols of modern existential dread, anxiety, and psychological torment in art history. The iconic image features a skeletal, androgynous figure on a bridge, hands pressed to its elongated, skull-like face in a gesture of horror, mouth agape in a silent yet deafening scream. Behind it, a blood-red sky swirls violently, while two distant figures walk away indifferently, and the landscape undulates as if melting or vibrating with the same anguish. Munch created this work during a period of intense personal crisis, and it draws directly from his own mental state.
Munch (1863–1944) endured profound trauma from childhood: the early deaths of his mother and sister from tuberculosis, his father's obsessive religiosity bordering on psychoneurosis, and a family history of mental illness (including his sister's schizophrenia). He described inheriting "the seeds of madness" and wrote that "the angels of fear, sorrow, and death stood by my side since the day I was born." These experiences fostered chronic anxiety, depression, alcoholism, hallucinations, and paranoia, leading to a nervous breakdown and voluntary hospitalization in 1908 for electroshock therapy and recovery. Munch viewed his suffering as inseparable from his art: "My fear of life is necessary to me, as is my illness... Without anxiety and illness, I am a ship without a rudder."
The Inspiration and Munch's Own Words
Munch explicitly described the moment that inspired The Scream in his diary: While walking along a path in Oslo (likely near the Ljabro hill area) with two friends at sunset, he felt overwhelmed by melancholy and anxiety. The sky turned "blood red," his friends' faces became "garish yellow-white," and he sensed "a huge endless scream passing through nature." He wrote: "I stood there trembling with anxiety… and I sensed an infinite scream passing through nature." The original German title he used for exhibition was Der Schrei der Natur ("The Scream of Nature"), emphasizing that the scream originates from the environment, not the figure. The central figure—often seen as Munch himself—is covering its ears in terror, overwhelmed by this external/ internal cacophony.
Core Psychological Themes
The image is shared by Wikimedia.
Psychological Analysis of Edvard Munch's The Scream
Edvard Munch's The Scream (original Norwegian title: Skrik, first version 1893; multiple versions exist, including paintings, pastels, and lithographs) stands as one of the most potent symbols of modern existential dread, anxiety, and psychological torment in art history. The iconic image features a skeletal, androgynous figure on a bridge, hands pressed to its elongated, skull-like face in a gesture of horror, mouth agape in a silent yet deafening scream. Behind it, a blood-red sky swirls violently, while two distant figures walk away indifferently, and the landscape undulates as if melting or vibrating with the same anguish. Munch created this work during a period of intense personal crisis, and it draws directly from his own mental state.
Munch (1863–1944) endured profound trauma from childhood: the early deaths of his mother and sister from tuberculosis, his father's obsessive religiosity bordering on psychoneurosis, and a family history of mental illness (including his sister's schizophrenia). He described inheriting "the seeds of madness" and wrote that "the angels of fear, sorrow, and death stood by my side since the day I was born." These experiences fostered chronic anxiety, depression, alcoholism, hallucinations, and paranoia, leading to a nervous breakdown and voluntary hospitalization in 1908 for electroshock therapy and recovery. Munch viewed his suffering as inseparable from his art: "My fear of life is necessary to me, as is my illness... Without anxiety and illness, I am a ship without a rudder."
The Inspiration and Munch's Own Words
Munch explicitly described the moment that inspired The Scream in his diary: While walking along a path in Oslo (likely near the Ljabro hill area) with two friends at sunset, he felt overwhelmed by melancholy and anxiety. The sky turned "blood red," his friends' faces became "garish yellow-white," and he sensed "a huge endless scream passing through nature." He wrote: "I stood there trembling with anxiety… and I sensed an infinite scream passing through nature." The original German title he used for exhibition was Der Schrei der Natur ("The Scream of Nature"), emphasizing that the scream originates from the environment, not the figure. The central figure—often seen as Munch himself—is covering its ears in terror, overwhelmed by this external/ internal cacophony.
Core Psychological Themes
- Existential Dread and Universal Anxiety
The painting captures angst—a profound, objectless fear of existence itself, akin to Kierkegaard's concept of dread or modern existential philosophy. It represents the terror of human isolation in an indifferent universe: the screaming figure is utterly alone, despite the presence of others (the retreating figures symbolize emotional disconnection). This resonates as a universal experience of panic, alienation, and the fragility of the self in the face of overwhelming reality. - Panic Attack and Sensory Overload
The distorted features—elongated face, wide eyes, open mouth—mirror the physical sensations of acute anxiety or panic: frozen terror, difficulty breathing, a sense of unreality, and amplified sensory input (the vibrating landscape, blood-red sky). The figure's gesture (hands to ears) suggests an attempt to block out unbearable stimuli, reflecting Munch's hypersensitivity and possible hallucinatory experiences. Psychologically, it externalizes the internal chaos of a breakdown, where the boundary between self and world dissolves. - Loss of Self-Integrity and Ego Dissolution
The undulating forms and interpenetration of figure and environment evoke a fear of being absorbed or annihilated by external forces—echoing Munch's monistic beliefs (no strict divide between mind/matter, self/other). The androgynous, fetal-like figure appears regressed, vulnerable, and on the verge of disintegration, symbolizing terror of losing one's identity amid trauma or madness. - Grief, Trauma, and Inherited Suffering
The blood-red sky and deathly pallor tie into Munch's lifelong preoccupation with death and illness. The scream may represent unresolved grief (family losses) or a "cry for help"—an externalization of inner torment that Munch channeled into art rather than verbal expression. It precedes his full breakdown but foreshadows it, serving as both catharsis and warning. - Modern Resonances
The Scream has become a cultural shorthand for anxiety, mental health struggles, and the pressures of contemporary life (industrialization, alienation, existential uncertainty). Viewers often see their own panic, depression, or overwhelm reflected in it—making it profoundly relatable. Unlike Van Gogh's luminous turmoil in Starry Night, Munch's work feels rawer and more despairing, with little hope of transcendence.
1895 2nd pastel
2012 SOLD for $ 120M by Sotheby's
It took Munch another two years to exorcise his anxiety. In 1895, he made a second pastel, 79 x 59 cm, sold for $ 120M from an expectation of $ 80M by Sotheby's on May 2, 2012. The image is shared by Wikimedia.
The pastel of 1895 is exceptional. This is the only version where the artist has included the poem, hand painted into the frame. The two friends are still there in the distance, but are not any more interested in the scene, leaving the main character lonely struggling with his own dehumanization.
Now conscious of having created a masterpiece, he prepares in the same year the first lithography.
The fourth and last version of Munch's Scream is much later. The 1895 pastel is the only one of the four artworks to be still in private hands, and it had been little seen outside Norway.
Grok response :
Quote
Pouissant17 @Pouissant17 Jul 29, 2023
Replying to @Pouissant17
1895 -The Scream by Munch, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012. The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500,
The pastel of 1895 is exceptional. This is the only version where the artist has included the poem, hand painted into the frame. The two friends are still there in the distance, but are not any more interested in the scene, leaving the main character lonely struggling with his own dehumanization.
Now conscious of having created a masterpiece, he prepares in the same year the first lithography.
The fourth and last version of Munch's Scream is much later. The 1895 pastel is the only one of the four artworks to be still in private hands, and it had been little seen outside Norway.
Grok response :
Quote
Pouissant17 @Pouissant17 Jul 29, 2023
Replying to @Pouissant17
1895 -The Scream by Munch, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012. The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500,
- The image depicts the 1895 version of "The Scream" by Edvard Munch, sold at Sotheby's in 2012 for $119.9 million to Leon Black, highlighting his deep interest in art as a status symbol, with the painting's record price reflecting a 200% increase over its initial $40 million bid in a 12-minute auction.
- This purchase aligns with Black's broader financial influence through Apollo Global Management, where his wealth—estimated at over $5 billion in 2025 per Forbes—enables acquisition of cultural assets, though no peer-reviewed studies link such spending to direct influence on political or legal outcomes like those tied to Epstein.
- The artwork's sale occurred amid protests by Occupy Wall Street, as reported by The New York Times, underscoring a rare public critique of wealth concentration in art, with data from the Art Basel report (2023) showing the top 1% of collectors owned 45% of auctioned art value, challenging the narrative of art as a universal cultural good.
1894 Vampire
2008 SOLD for $ 38M by Sotheby's
Munch knew to mingle love and death as exampled by his Madonna. He was an illustrator concerned about the disclosure of his work, who made his oils on canvas in a small number of examples and added lithographic issues with a virtually identical drawing. As a result, this female "vampire", with her flame-color long hair, kissing on the neck of her lover, is an image that the auction news bring us often.
The Vampire was painted in four copies in 1893-1894. The only oil on canvas in private handshad been loaned during ten years to the Metropolitan Museum of Art. It was sold for $ 38M by Sotheby's on November 3, 2008. The image is shared by Wikimedia.
Grok response :
Quote
Michael Doyle @DoyleofDarkness Jan 16, 2023
"Love and Pain" (aka "Vampire") by Edvard Munch. The Norwegian artist painted six versions of this same subject between 1893 and 1895. Seen by many as the sister of Munch's "The Scream" (1893), one version of the painting sold at Sotheby's in 2008 for £24.3 million. #horror #art
The Vampire was painted in four copies in 1893-1894. The only oil on canvas in private handshad been loaned during ten years to the Metropolitan Museum of Art. It was sold for $ 38M by Sotheby's on November 3, 2008. The image is shared by Wikimedia.
Grok response :
Quote
Michael Doyle @DoyleofDarkness Jan 16, 2023
"Love and Pain" (aka "Vampire") by Edvard Munch. The Norwegian artist painted six versions of this same subject between 1893 and 1895. Seen by many as the sister of Munch's "The Scream" (1893), one version of the painting sold at Sotheby's in 2008 for £24.3 million. #horror #art
- The painting "Love and Pain" (1893) by Edvard Munch, also known as "Vampire," depicts a woman with red hair seemingly biting a man's neck, reflecting Munch's exploration of intense emotions and possibly influenced by his sister's mental health struggles, as noted in his diaries and supported by art historians' analyses of his work.
- Munch created six versions of this painting between 1893 and 1895, with one sold for £24.3 million at Sotheby's in 2008, a price that underscores its cultural value and rarity, aligning with auction data showing a surge in demand for Expressionist works post-2000.
- The painting's connection to "The Scream" (1893) suggests a shared inspiration, potentially linked to the 1883 Krakatoa eruption's global red skies, a theory backed by atmospheric studies correlating volcanic ash with unusual sunset colors observed in Europe during Munch's lifetime.
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masterpiece
1894 Madonna
Munch Museum, Oslo
The two masterpieces in the imaging of Edvard Munch, The Scream and Madonna, were conceived in the same year, 1893. Anxiety and fertility express the great question of life and it is tempting to view them as a pair.
Madonna is a pretty woman whose model Dagny Juel was admired by the artist. She is nude and standing, displayed down to the hips. The head is tilted back and the closed eyes are waiting for pleasure. The red lips express pain according to the explanation provided by the artist and bring this ambiguous idol close to the Vampyr, another of the favorite themes of Munch at the same time. The sinister background marks the uncertainty of the future.
Munch designed for his first Madonna the red blood frame on which sperms are slipping and which is broken at the bottom left to display the fetus, a symbol of death since it is lethal outside a woman's body. This unique frame was not kept.
The painting is preceding the lithograph in black and white, which is the subject of various color trials by the artist for choosing the best balance for his future color lithographs.
The image of the 1894 version is shared by Wikimedia.
Exploring Edvard Munch's Madonna
Edvard Munch's Madonna (also known as Loving Woman in early conceptions) is a provocative and deeply layered work created primarily between 1894 and 1895, with multiple versions in oil on canvas (e.g., National Museum, Oslo; Munch Museum, Oslo) and lithographic prints (1895 onward). Far from the traditional Christian icon of the Virgin Mary—chaste, serene, and maternal—Munch reimagines her as a nude woman in a moment of ecstatic sexual surrender, blending sacred symbolism with raw eroticism, fertility, pain, and mortality. This radical subversion reflects Munch's Symbolist and proto-Expressionist style, prioritizing inner psychological states over realistic depiction.
The central figure is shown from the hips up, bare-breasted, with her head tilted back, eyes closed (or half-closed in some versions), long dark hair cascading, and one arm raised behind her head in a gesture of abandon. Her pale, almost corpse-like skin contrasts with vivid colors: a swirling crimson-red halo encircles her head (replacing the traditional golden one), set against undulating, fluid backgrounds in reddish-browns and blacks that evoke rhythmic motion or an amniotic-like sac. In the lithograph versions, Munch added a decorative border of wriggling sperm and a small fetus-like figure in the lower corner, emphasizing conception and the life cycle.
Symbolism and Meaning
Munch described the figure as "a woman in a state of surrender – where she acquires the afflicted beauty of a Madonna," capturing a climactic "pause" in the cycle of life where pleasure, pain, creation, and death converge. Key symbols include:
Psychological Interpretation
Madonna emerges from Munch's tormented psyche, shaped by profound trauma: the early deaths of his mother and sister from tuberculosis, his father's religious fanaticism and mental instability, and Munch's own battles with anxiety, depression, hallucinations, and fear of heredity ("the seeds of madness"). Women in his art often embody ambivalence—sources of love, desire, and creation, yet also danger, loss, and death.
Munch's Madonna remains shocking and profound: a secular altarpiece that dares to fuse the erotic with the divine, revealing the psychological complexity of desire, vulnerability, and the life cycle in fin-de-siècle Europe.(These images capture the iconic oil versions and lithographic details, highlighting the red halo, ecstatic pose, and swirling forms that convey Munch's intense emotional and symbolic fusion.
Madonna is a pretty woman whose model Dagny Juel was admired by the artist. She is nude and standing, displayed down to the hips. The head is tilted back and the closed eyes are waiting for pleasure. The red lips express pain according to the explanation provided by the artist and bring this ambiguous idol close to the Vampyr, another of the favorite themes of Munch at the same time. The sinister background marks the uncertainty of the future.
Munch designed for his first Madonna the red blood frame on which sperms are slipping and which is broken at the bottom left to display the fetus, a symbol of death since it is lethal outside a woman's body. This unique frame was not kept.
The painting is preceding the lithograph in black and white, which is the subject of various color trials by the artist for choosing the best balance for his future color lithographs.
The image of the 1894 version is shared by Wikimedia.
Exploring Edvard Munch's Madonna
Edvard Munch's Madonna (also known as Loving Woman in early conceptions) is a provocative and deeply layered work created primarily between 1894 and 1895, with multiple versions in oil on canvas (e.g., National Museum, Oslo; Munch Museum, Oslo) and lithographic prints (1895 onward). Far from the traditional Christian icon of the Virgin Mary—chaste, serene, and maternal—Munch reimagines her as a nude woman in a moment of ecstatic sexual surrender, blending sacred symbolism with raw eroticism, fertility, pain, and mortality. This radical subversion reflects Munch's Symbolist and proto-Expressionist style, prioritizing inner psychological states over realistic depiction.
The central figure is shown from the hips up, bare-breasted, with her head tilted back, eyes closed (or half-closed in some versions), long dark hair cascading, and one arm raised behind her head in a gesture of abandon. Her pale, almost corpse-like skin contrasts with vivid colors: a swirling crimson-red halo encircles her head (replacing the traditional golden one), set against undulating, fluid backgrounds in reddish-browns and blacks that evoke rhythmic motion or an amniotic-like sac. In the lithograph versions, Munch added a decorative border of wriggling sperm and a small fetus-like figure in the lower corner, emphasizing conception and the life cycle.
Symbolism and Meaning
Munch described the figure as "a woman in a state of surrender – where she acquires the afflicted beauty of a Madonna," capturing a climactic "pause" in the cycle of life where pleasure, pain, creation, and death converge. Key symbols include:
- Red Halo — Symbolizes passionate, earthly love rather than divine purity; it evokes blood, passion, suffering, and the duality of ecstasy and agony.
- Nude Pose and Ecstasy — The arched back and closed eyes suggest orgasmic bliss or transcendent union, but with an undertone of vulnerability or deathly pallor—linking sexual fulfillment to mortality.
- Sperm and Fetus Border (in prints) — Represents fertilization and procreation, framing the woman as both life-giver and sacrificial vessel in the eternal cycle of birth and death.
- Swirling Background — Suggests a maelstrom-like force drawing her in, blurring boundaries between self and cosmos, reality and the metaphysical.
Psychological Interpretation
Madonna emerges from Munch's tormented psyche, shaped by profound trauma: the early deaths of his mother and sister from tuberculosis, his father's religious fanaticism and mental instability, and Munch's own battles with anxiety, depression, hallucinations, and fear of heredity ("the seeds of madness"). Women in his art often embody ambivalence—sources of love, desire, and creation, yet also danger, loss, and death.
- Ambivalence Toward Sexuality and Femininity — The figure radiates power and uninhibited pleasure (a sexually active woman "on a par with men," as Munch's era grappled with emerging feminism and free love debates), yet her deathly pallor and entrapped pose suggest objectification, entrapment in reproductive destiny, or fear of engulfment by female sexuality. Interpretations vary: orgasmic ecstasy, arrogant disdain, cadaverous allure, or self-consuming siren—reflecting Munch's conflicted feelings of attraction, fear, and idealization.
- Life-Death Duality — The "afflicted beauty" ties erotic surrender to mortality, echoing Munch's obsession with illness, grief, and the fragility of existence. Conception becomes a moment of both creation and inevitable decay.
- Existential and Spiritual Yearning — Amid personal isolation and doubt, the work seeks transcendence through the body—transforming carnal union into a mystical experience, a "pause" where the profane becomes sacred.
Munch's Madonna remains shocking and profound: a secular altarpiece that dares to fuse the erotic with the divine, revealing the psychological complexity of desire, vulnerability, and the life cycle in fin-de-siècle Europe.(These images capture the iconic oil versions and lithographic details, highlighting the red halo, ecstatic pose, and swirling forms that convey Munch's intense emotional and symbolic fusion.
Madonna (c. 1894–95) and Vampire (originally Love and Pain, 1893–94) both explore the intertwined morbidity of erotic love, creation, and death, reflecting Munch’s broader Symbolist and proto-Expressionist concerns in the Frieze of Life cycle rather than a single acute “bad event” in 1893–94. The Scream (1893) intensifies this into pure existential anguish.
Madonna
The nude woman, eyes closed and head tilted back in apparent ecstasy (or agony), wears a red/blood-colored halo. Versions (especially lithographs) include a border of spermatozoa and a skeletal or ghoulish fetus-like figure. Munch’s own notes frame it as the moment of conception: a “pause when the world stops revolving,” with lips parting “as if in pain,” “the smile of a corpse,” and “the hand of death touches life.” It fuses the sacred (Madonna/Virgin) with the carnal and mortal—life’s beginning shadowed by death, erotic surrender mixed with threat. The morbidity is philosophical and symbolic: woman as life-giver and potential destroyer, holiness intertwined with flesh and mortality.
Vampire (Love and Pain)
A red-haired woman embraces a pale, bowed man, her face near or against his neck, hair cascading over him like blood or a shroud. Munch insisted it showed simply “a woman kissing a man on the neck,” and the original title emphasized love’s pain rather than literal vampirism. Critic Stanisław Przybyszewski (and later reception) reframed it as a predatory femme fatale draining the man. The man’s corpse-like pallor contrasts with the woman’s vitality; the embrace is simultaneously tender/maternal and consuming. Morbidity centers on love as parasitic or fatal—intimacy that drains vitality—echoing contemporary anxieties about female sexuality and male vulnerability.
Comparison of morbidity
Both works from the same short period treat love/sex as inseparable from suffering and death (Eros-Thanatos). Madonna is more solitary, cosmic, and generative: ecstasy at the origin of life already marked by death’s proximity (fetus, “corpse smile,” blood halo). Vampire is relational and intimate: the couple locked in an embrace that can be read as consolation or predation, with the man visibly depleted. Madonna leans toward ambivalence around creation and the sacred-profane; Vampire toward the destructive or exhausting potential of passion. Both use flowing hair, red tones associated with blood/passion, and pale or entranced figures to heighten unease. They belong to the Frieze of Life (“poem of life, love, and death”), which sequences awakening desire, consummation, jealousy, anxiety, and mortality.
Relation to events in Munch’s life
No single dramatic crisis uniquely triggered these two works in 1893–94. Munch’s morbidity was rooted in earlier, lifelong traumas that he repeatedly transformed into art:
Comparison with The Scream (1893)
The Scream belongs to the same Frieze moment and period of intense productivity. It is less about erotic morbidity and more about overwhelming, impersonal angst: a skeletal/fetus-like figure on a bridge under a blood-red swirling sky, hands to head, amid a “scream through nature.” Munch described a personal experience of sudden dread during a sunset walk. Where Madonna and Vampire localize morbidity in the body, sexuality, and the couple (or the generative act), The Scream expands it to cosmic/existential scale—alienation, the void, nature itself howling. All three share the era’s Symbolist interest in inner states, non-naturalistic color and line as emotional force, and the sense that life is shadowed by death and anxiety. The Scream functions as a kind of culmination or pure distillation of the dread that also saturates the love-themed works.
In short, the shared morbidity of Madonna and Vampire arises from Munch’s cumulative personal history of loss, illness, and fraught relationships, refracted through the Frieze of Life’s philosophical framework of love and death as inseparable. The Scream elevates the same underlying anxiety to a universal, almost apocalyptic pitch. These are not isolated reactions to 1893–94 events but mature crystallizations of themes that defined his art.
Madonna
The nude woman, eyes closed and head tilted back in apparent ecstasy (or agony), wears a red/blood-colored halo. Versions (especially lithographs) include a border of spermatozoa and a skeletal or ghoulish fetus-like figure. Munch’s own notes frame it as the moment of conception: a “pause when the world stops revolving,” with lips parting “as if in pain,” “the smile of a corpse,” and “the hand of death touches life.” It fuses the sacred (Madonna/Virgin) with the carnal and mortal—life’s beginning shadowed by death, erotic surrender mixed with threat. The morbidity is philosophical and symbolic: woman as life-giver and potential destroyer, holiness intertwined with flesh and mortality.
Vampire (Love and Pain)
A red-haired woman embraces a pale, bowed man, her face near or against his neck, hair cascading over him like blood or a shroud. Munch insisted it showed simply “a woman kissing a man on the neck,” and the original title emphasized love’s pain rather than literal vampirism. Critic Stanisław Przybyszewski (and later reception) reframed it as a predatory femme fatale draining the man. The man’s corpse-like pallor contrasts with the woman’s vitality; the embrace is simultaneously tender/maternal and consuming. Morbidity centers on love as parasitic or fatal—intimacy that drains vitality—echoing contemporary anxieties about female sexuality and male vulnerability.
Comparison of morbidity
Both works from the same short period treat love/sex as inseparable from suffering and death (Eros-Thanatos). Madonna is more solitary, cosmic, and generative: ecstasy at the origin of life already marked by death’s proximity (fetus, “corpse smile,” blood halo). Vampire is relational and intimate: the couple locked in an embrace that can be read as consolation or predation, with the man visibly depleted. Madonna leans toward ambivalence around creation and the sacred-profane; Vampire toward the destructive or exhausting potential of passion. Both use flowing hair, red tones associated with blood/passion, and pale or entranced figures to heighten unease. They belong to the Frieze of Life (“poem of life, love, and death”), which sequences awakening desire, consummation, jealousy, anxiety, and mortality.
Relation to events in Munch’s life
No single dramatic crisis uniquely triggered these two works in 1893–94. Munch’s morbidity was rooted in earlier, lifelong traumas that he repeatedly transformed into art:
- Mother Laura died of tuberculosis when he was 5 (1868).
- Beloved sister Sophie died of the same disease when he was 14 (1877); he returned to related motifs (e.g., The Sick Child) for decades.
- Father’s strict religiosity, family mental illness (sister Laura institutionalized), Munch’s own recurrent illness and fear of inherited “consumption and insanity.”
- Father’s death in 1889 intensified grief.
Comparison with The Scream (1893)
The Scream belongs to the same Frieze moment and period of intense productivity. It is less about erotic morbidity and more about overwhelming, impersonal angst: a skeletal/fetus-like figure on a bridge under a blood-red swirling sky, hands to head, amid a “scream through nature.” Munch described a personal experience of sudden dread during a sunset walk. Where Madonna and Vampire localize morbidity in the body, sexuality, and the couple (or the generative act), The Scream expands it to cosmic/existential scale—alienation, the void, nature itself howling. All three share the era’s Symbolist interest in inner states, non-naturalistic color and line as emotional force, and the sense that life is shadowed by death and anxiety. The Scream functions as a kind of culmination or pure distillation of the dread that also saturates the love-themed works.
In short, the shared morbidity of Madonna and Vampire arises from Munch’s cumulative personal history of loss, illness, and fraught relationships, refracted through the Frieze of Life’s philosophical framework of love and death as inseparable. The Scream elevates the same underlying anxiety to a universal, almost apocalyptic pitch. These are not isolated reactions to 1893–94 events but mature crystallizations of themes that defined his art.
Special Report
Dagny Juel
Dagny Juel (later Juel-Przybyszewska, 1867–1901) was a significant personal, social, and artistic presence in Edvard Munch’s life during his formative Berlin years in the early 1890s.
She is widely regarded as a muse and possible model or inspiration for key works in his Frieze of Life cycle, particularly around the themes of love, jealousy, eroticism, and the ambivalent femme fatale/Madonna archetype. Her influence combined direct modeling, the atmosphere of the bohemian circle she helped define, and her own independent creative energy.
Background and Relationship with Munch
Juel was born into an upper-middle-class Norwegian family in Kongsvinger (her father was a physician). She studied piano in Kristiania (Oslo) and later Berlin. She and Munch knew each other from the Kristiania art scene; sources indicate a close friendship that may have included a romantic or intimate element, though the exact nature remains uncertain and is sometimes downplayed by Munch himself.
In early 1893, Munch introduced her to the predominantly male Scandinavian and international bohemian circle at the Berlin tavern Zum schwarzen Ferkel (“The Black Piglet”). She quickly became a central, almost mythical figure there—nicknamed “Aspasia” by August Strindberg (after the classical companion of Pericles) for her intelligence, sensuality, and free-spiritedness. She had a brief affair with Strindberg (which ended acrimoniously) before marrying the Polish writer and critic Stanisław Przybyszewski in August 1893. Their open marriage and the ensuing triangles (involving Munch and others) fueled the erotic and jealous tensions of the group.
Munch painted a full-length portrait of her in 1893 (Dagny Juel Przybyszewska), showing her in a black dress against a deep blue background, with a slight, enigmatic smile. He later kept a portrait of her hanging over his bed. The couple remained on friendly terms with Munch for years; Juel promoted his work (introducing it in Poland and writing about Norwegian artists for German papers), and Przybyszewski dedicated a book to him.
Artistic Influence
Juel’s ethereal beauty, androgynous allure, mysterious aura, and embodiment of modern “free love” made her an ideal embodiment of Munch’s complex female archetypes—simultaneously sacred, sensual, nurturing, and potentially destructive.
Limits and Context
Munch’s morbid and ambivalent views of women predated Juel and stemmed primarily from his early family traumas (deaths of mother and sister from tuberculosis, etc.). Juel amplified and personalized these themes during a peak creative period rather than originating them. Munch was protective of her reputation and later offered one of the few positive contemporary accounts of her after her death. She was murdered in 1901 in Tbilisi (shot by a young admirer, Władysław Emeryk, who then killed himself); Munch’s circle reacted to the tragedy.
In summary, Dagny Juel was not merely a passive muse but an active participant in the Berlin bohemia that shaped Munch’s mid-1890s output. She provided a living embodiment of the dualities—sacred/profane, love/pain, life/death—that define works like Madonna and Vampire, while also supporting his career practically and intellectually. Her influence is one of the clearest personal links between Munch’s private world and the symbolic intensity of his Frieze of Life.
She is widely regarded as a muse and possible model or inspiration for key works in his Frieze of Life cycle, particularly around the themes of love, jealousy, eroticism, and the ambivalent femme fatale/Madonna archetype. Her influence combined direct modeling, the atmosphere of the bohemian circle she helped define, and her own independent creative energy.
Background and Relationship with Munch
Juel was born into an upper-middle-class Norwegian family in Kongsvinger (her father was a physician). She studied piano in Kristiania (Oslo) and later Berlin. She and Munch knew each other from the Kristiania art scene; sources indicate a close friendship that may have included a romantic or intimate element, though the exact nature remains uncertain and is sometimes downplayed by Munch himself.
In early 1893, Munch introduced her to the predominantly male Scandinavian and international bohemian circle at the Berlin tavern Zum schwarzen Ferkel (“The Black Piglet”). She quickly became a central, almost mythical figure there—nicknamed “Aspasia” by August Strindberg (after the classical companion of Pericles) for her intelligence, sensuality, and free-spiritedness. She had a brief affair with Strindberg (which ended acrimoniously) before marrying the Polish writer and critic Stanisław Przybyszewski in August 1893. Their open marriage and the ensuing triangles (involving Munch and others) fueled the erotic and jealous tensions of the group.
Munch painted a full-length portrait of her in 1893 (Dagny Juel Przybyszewska), showing her in a black dress against a deep blue background, with a slight, enigmatic smile. He later kept a portrait of her hanging over his bed. The couple remained on friendly terms with Munch for years; Juel promoted his work (introducing it in Poland and writing about Norwegian artists for German papers), and Przybyszewski dedicated a book to him.
Artistic Influence
Juel’s ethereal beauty, androgynous allure, mysterious aura, and embodiment of modern “free love” made her an ideal embodiment of Munch’s complex female archetypes—simultaneously sacred, sensual, nurturing, and potentially destructive.
- Madonna (c. 1894–95 and related versions): Many scholars and contemporaries link her as the primary inspiration or model for the ecstatic nude with the red halo. Munch sometimes denied a direct connection (partly to protect reputations amid scandal), but he acknowledged a resemblance, and biographers note her as the figure who transitioned in his mind from sensual goddess to mother/saint. The work’s fusion of eroticism, conception, and death echoes the charged atmosphere around her.
- Vampire (originally Love and Pain, 1893–94): Linked to the same circle and period. Przybyszewski (her husband) famously reinterpreted and retitled it as a vampire motif. Some interpretations see echoes of the couples and power dynamics involving Juel.
- Jealousy (1895 and variants): Strongly associated with the triangular relationships in the Ferkel circle. The foreground figure is often identified with Przybyszewski; the couple in the background (sometimes with a nude woman offering an apple-like fruit) is linked to Juel and Munch or related dynamics.
Limits and Context
Munch’s morbid and ambivalent views of women predated Juel and stemmed primarily from his early family traumas (deaths of mother and sister from tuberculosis, etc.). Juel amplified and personalized these themes during a peak creative period rather than originating them. Munch was protective of her reputation and later offered one of the few positive contemporary accounts of her after her death. She was murdered in 1901 in Tbilisi (shot by a young admirer, Władysław Emeryk, who then killed himself); Munch’s circle reacted to the tragedy.
In summary, Dagny Juel was not merely a passive muse but an active participant in the Berlin bohemia that shaped Munch’s mid-1890s output. She provided a living embodiment of the dualities—sacred/profane, love/pain, life/death—that define works like Madonna and Vampire, while also supporting his career practically and intellectually. Her influence is one of the clearest personal links between Munch’s private world and the symbolic intensity of his Frieze of Life.
masterpiece
1899-1900 The Dance of Life
Nasjonalgalleriet Oslo
The meaning of Love was a great obsession to Edvard Munch. He began in 1893 an autobiographical series of paintings which will soon be titled Frieze of Life - a Poem about Life, Love and Death. The series includes the most poignant works by Munch : The Scream, Vampire, Madonna, The Kiss, Angst, Melancholy.
The Dance of Life, painted in 1899-1900, is a summary of the theme. In the foreground the dancing couple is a self portrait with his first love Millie. Youth and old age are respectively on their left and right side, looking at the viewer. They both are the same woman, his new partner Tulla, in bridal gown and mourning garb.
The image is shared by Wikimedia.
That mystic quest comes in the same period as Gauguin's D'où venons nous? Que sommes nous? Où allons nous? painted about two years earlier.
The Dance of Life, painted in 1899-1900, is a summary of the theme. In the foreground the dancing couple is a self portrait with his first love Millie. Youth and old age are respectively on their left and right side, looking at the viewer. They both are the same woman, his new partner Tulla, in bridal gown and mourning garb.
The image is shared by Wikimedia.
That mystic quest comes in the same period as Gauguin's D'où venons nous? Que sommes nous? Où allons nous? painted about two years earlier.
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1902 Girls on the Bridge
2016 SOLD for $ 55M by Sotheby's
Edvard Munch wants to be the artist of existence. His project for a frieze series on life, love and death makes him busy since 1893 but does not calm the emotional instability of his own life.
The legitimate hope for a happy life mercilessly leads to the forbidden love with the Vampire, the untold abortion of Madonna and the open madness of the Scream. The line and color are a scathing expression, after Gauguin and Van Gogh, before Matisse, Kirchner and Kandinsky.
His characters play the tragedy of a mental loneliness which is not canceled by their presence in or near a group. Sometimes the stage is guarded on one side by an endless railing over which one or more actors will come at some time to meditate while leaning over the water. This theatrical similarity is the terrible common feature between the Scream, paroxysm of terror, and the very peaceful Girls on the bridge.
In 1901 and 1902, Munch painted several versions of Girls on the bridge, with various position of the characters. One of these artworks brings a little more hope than the other ones. Far away from the suicidal railing, it displays a tight group of four in an attitude conducive to opening a discussion but indeed still not to the exchange of secrets. The scenery is a realistic rendering of a bridge at Åsgårdstrand.
This oil on canvas 101 x 102 cm painted in 1902 was sold by Sotheby's for $ 31M on May 7, 2008, lot 25 and for $ 55M on November 14, 2016, lot 12.
Grok thought :
Quote
Sotheby's @Sothebys Oct 21, 2016
Edvard Munch’s ‘Girls on the Bridge’ will headline our Impressionist & Modern Art sales this November: http://bit.ly/2ercPQt
The legitimate hope for a happy life mercilessly leads to the forbidden love with the Vampire, the untold abortion of Madonna and the open madness of the Scream. The line and color are a scathing expression, after Gauguin and Van Gogh, before Matisse, Kirchner and Kandinsky.
His characters play the tragedy of a mental loneliness which is not canceled by their presence in or near a group. Sometimes the stage is guarded on one side by an endless railing over which one or more actors will come at some time to meditate while leaning over the water. This theatrical similarity is the terrible common feature between the Scream, paroxysm of terror, and the very peaceful Girls on the bridge.
In 1901 and 1902, Munch painted several versions of Girls on the bridge, with various position of the characters. One of these artworks brings a little more hope than the other ones. Far away from the suicidal railing, it displays a tight group of four in an attitude conducive to opening a discussion but indeed still not to the exchange of secrets. The scenery is a realistic rendering of a bridge at Åsgårdstrand.
This oil on canvas 101 x 102 cm painted in 1902 was sold by Sotheby's for $ 31M on May 7, 2008, lot 25 and for $ 55M on November 14, 2016, lot 12.
Grok thought :
Quote
Sotheby's @Sothebys Oct 21, 2016
Edvard Munch’s ‘Girls on the Bridge’ will headline our Impressionist & Modern Art sales this November: http://bit.ly/2ercPQt
- Sotheby's October 2016 post highlights Edvard Munch's 1902 expressionist oil painting "Girls on the Bridge," a nearly square canvas depicting four figures on a bridge amid a vibrant Nordic landscape, as the lead lot in their New York Impressionist & Modern Art Evening Sale.
- The work, one of multiple versions Munch created exploring themes of adolescence and isolation, carried an estimate exceeding $50 million and drew attention for its luminous colors and emotional depth, distinct from his more famous "The Scream."
- Auctioned on November 14, 2016, it fetched $54.5 million including fees, establishing a then-record price for Munch and anchoring a $157.7 million sale amid a competitive market for early 20th-century masters.
Edvard Munch’s ‘Girls on the Bridge’ will headline our Impressionist & Modern Art sales this November: https://t.co/tMh6b1ZWyv pic.twitter.com/SF0jHnPYDD
— Sotheby's (@Sothebys) October 21, 2016
1901-1903 Midsummer Night
2025 SOLD for $ 35M by Sotheby's
Midsummer Night, oil on canvas 105 x 100 cm painted by Munch ca 1901-1903, was sold for $ 35M from a lower estimate of $ 20M for sale by Sotheby's on November 18, 2025, lot 6.
Asking Grok to compare with Girls on the bridge and with Summer night :
Grok thought :
Overview
Edvard Munch's works from the early 1900s often capture the ethereal quality of Nordic summer nights in Åsgårdstrand, Norway, blending landscape elements with emotional intensity through his pioneering Expressionist style. All three paintings—"Sankthansnatt (Midsummer Night)," "Pikene på broen (Girls on the Bridge)," and "Sommernatt (Summer Night)"—were created around 1901-1903 during a pivotal period in Munch's career, marked by personal turmoil (including his tumultuous relationship with Tulla Larsen) and professional breakthroughs, such as exhibiting his Frieze of Life series at the Berlin Secession in 1902. They share thematic roots in Munch's exploration of inner psychological states projected onto nature, drawing from Nordic "mood-painting" (stemningsmaleri) traditions and influencing later movements like Fauvism and German Expressionism. Stylistically, they feature bold, non-naturalistic colors, sinuous lines, and distorted perspectives to evoke emotions like melancholy, longing, and erotic awakening. However, they differ in composition: "Girls on the Bridge" is more figurative, centering on human subjects symbolizing puberty and mortality, while the other two lean toward pure landscapes with subtler human implications through village or garden elements. Auction-wise, "Girls on the Bridge" achieved the highest price due to its iconic status within Munch's oeuvre and the rarity of such versions on the market, compared to the more atmospheric landscapes of the others.Key
Year Created
Midsummer night : circa 1901-03
the other two : 1902
Description
Midsummer Night : Depicts a Nordic summer night landscape and village scene, with dramatic nocturnal elements like a luminous sky and village structures, emphasizing emotional resonance through bold colors and organic forms. No explicit human figures mentioned, focusing on the atmospheric "mood" of St. John's Night (Midsummer).
Girls : Shows a group of young girls on a bridge in Åsgårdstrand, with a sharp perspective leading along a jetty toward fjord-side houses under brilliant moonlight. Uses vibrant pinks, greens, blues, and golds to symbolize sexual awakening, innocence, and mortality, part of Munch's Frieze of Life series.
Summer Night : Portrays a night view from outside Munch's Åsgårdstrand house, with a path through greenery to a garden bench, receding toward hills and a red-roofed dwelling under a starry sky. Employs broad brushstrokes and deep spatial recession to convey melancholy and emotional depth, without human figures, foreshadowing Munch's later landscape focus.
Style & Themes
Midsummer Night : Expressionist with sinuous lines and non-naturalistic colors; themes of resurrection, innocence, and Nordic folklore (Midsummer rituals), reflecting Munch's redemption-landscapes.
Girls : Bold Expressionism with distorted perspective and resonant hues; explores puberty, eroticism, love's suffering, and death, evoking fin-de-siècle disillusionment.
Summer Night : Expressionist mood-painting with emotional distortion of nature; themes of longing and inner angst, influenced by contemporaries like Van Gogh's starry nights.
Artistic and Market Analysis
Thematically, these works form a loose trilogy of Åsgårdstrand nights, where Munch transforms familiar locales into psychological arenas. "Girls on the Bridge" stands out for its human drama, making it more narrative and symbolically charged—part of the celebrated Frieze of Life, which elevates its cultural cachet and market value. In contrast, "Midsummer Night" and "Summer Night" are more introspective landscapes, evoking solitude through empty paths and luminous skies, though "Midsummer Night" hints at communal folklore with its village motif. Stylistically, all employ Munch's signature techniques, but "Girls" uses figures to heighten emotional tension, while the others rely on spatial depth and color contrasts for subtler effect.
From a market perspective, "Girls on the Bridge" fetched the highest price due to its rarity (one of only a few privately held versions of this motif) and direct ties to Munch's most famous themes, outperforming expectations in a strong 2016 market. "Summer Night" sold lower, possibly reflecting its more abstract landscape focus and a softer 2018 market for Impressionist/Modern works. The upcoming "Midsummer Night" estimate positions it between the two, buoyed by its prestigious Lauder provenance and early exhibition history, though its final hammer could vary based on bidder interest in Munch's nocturnal motifs. Overall, these paintings highlight Munch's evolution from figure-dominated symbolism to emotive landscapes, with auction results underscoring the premium on his more anthropocentric pieces.
Asking Grok to compare with Girls on the bridge and with Summer night :
Grok thought :
Overview
Edvard Munch's works from the early 1900s often capture the ethereal quality of Nordic summer nights in Åsgårdstrand, Norway, blending landscape elements with emotional intensity through his pioneering Expressionist style. All three paintings—"Sankthansnatt (Midsummer Night)," "Pikene på broen (Girls on the Bridge)," and "Sommernatt (Summer Night)"—were created around 1901-1903 during a pivotal period in Munch's career, marked by personal turmoil (including his tumultuous relationship with Tulla Larsen) and professional breakthroughs, such as exhibiting his Frieze of Life series at the Berlin Secession in 1902. They share thematic roots in Munch's exploration of inner psychological states projected onto nature, drawing from Nordic "mood-painting" (stemningsmaleri) traditions and influencing later movements like Fauvism and German Expressionism. Stylistically, they feature bold, non-naturalistic colors, sinuous lines, and distorted perspectives to evoke emotions like melancholy, longing, and erotic awakening. However, they differ in composition: "Girls on the Bridge" is more figurative, centering on human subjects symbolizing puberty and mortality, while the other two lean toward pure landscapes with subtler human implications through village or garden elements. Auction-wise, "Girls on the Bridge" achieved the highest price due to its iconic status within Munch's oeuvre and the rarity of such versions on the market, compared to the more atmospheric landscapes of the others.Key
Year Created
Midsummer night : circa 1901-03
the other two : 1902
Description
Midsummer Night : Depicts a Nordic summer night landscape and village scene, with dramatic nocturnal elements like a luminous sky and village structures, emphasizing emotional resonance through bold colors and organic forms. No explicit human figures mentioned, focusing on the atmospheric "mood" of St. John's Night (Midsummer).
Girls : Shows a group of young girls on a bridge in Åsgårdstrand, with a sharp perspective leading along a jetty toward fjord-side houses under brilliant moonlight. Uses vibrant pinks, greens, blues, and golds to symbolize sexual awakening, innocence, and mortality, part of Munch's Frieze of Life series.
Summer Night : Portrays a night view from outside Munch's Åsgårdstrand house, with a path through greenery to a garden bench, receding toward hills and a red-roofed dwelling under a starry sky. Employs broad brushstrokes and deep spatial recession to convey melancholy and emotional depth, without human figures, foreshadowing Munch's later landscape focus.
Style & Themes
Midsummer Night : Expressionist with sinuous lines and non-naturalistic colors; themes of resurrection, innocence, and Nordic folklore (Midsummer rituals), reflecting Munch's redemption-landscapes.
Girls : Bold Expressionism with distorted perspective and resonant hues; explores puberty, eroticism, love's suffering, and death, evoking fin-de-siècle disillusionment.
Summer Night : Expressionist mood-painting with emotional distortion of nature; themes of longing and inner angst, influenced by contemporaries like Van Gogh's starry nights.
Artistic and Market Analysis
Thematically, these works form a loose trilogy of Åsgårdstrand nights, where Munch transforms familiar locales into psychological arenas. "Girls on the Bridge" stands out for its human drama, making it more narrative and symbolically charged—part of the celebrated Frieze of Life, which elevates its cultural cachet and market value. In contrast, "Midsummer Night" and "Summer Night" are more introspective landscapes, evoking solitude through empty paths and luminous skies, though "Midsummer Night" hints at communal folklore with its village motif. Stylistically, all employ Munch's signature techniques, but "Girls" uses figures to heighten emotional tension, while the others rely on spatial depth and color contrasts for subtler effect.
From a market perspective, "Girls on the Bridge" fetched the highest price due to its rarity (one of only a few privately held versions of this motif) and direct ties to Munch's most famous themes, outperforming expectations in a strong 2016 market. "Summer Night" sold lower, possibly reflecting its more abstract landscape focus and a softer 2018 market for Impressionist/Modern works. The upcoming "Midsummer Night" estimate positions it between the two, buoyed by its prestigious Lauder provenance and early exhibition history, though its final hammer could vary based on bidder interest in Munch's nocturnal motifs. Overall, these paintings highlight Munch's evolution from figure-dominated symbolism to emotive landscapes, with auction results underscoring the premium on his more anthropocentric pieces.
1902 Summer Night, Asgardstrand
2018 SOLD for $ 11.3M by Sotheby's
In 1902 Edvard Munch is not far away from madness. His erotic affair with a new mistress will end in September in dramatic brawl and separation. Once again he looks in summer for the quietness of his beloved Åsgårdstrand.
The endless twilight of Scandinavia provides special colors and atmosphere when the reddish glow of sunset never completely fades. Summer Night (Sommernatt) expresses a night scene in stronger colors and distorted perspective of his house from the garden. The starry sky is represented by a modified Ursa Major, a symbol of the north.
This oil on canvas 115 x 101 cm was sold by Sotheby's for $ 4.5M on May 3, 2005, lot 20 and for $ 11.3M on May 14, 2018, lot 36. The image is shared by Wikimedia.
The endless twilight of Scandinavia provides special colors and atmosphere when the reddish glow of sunset never completely fades. Summer Night (Sommernatt) expresses a night scene in stronger colors and distorted perspective of his house from the garden. The starry sky is represented by a modified Ursa Major, a symbol of the north.
This oil on canvas 115 x 101 cm was sold by Sotheby's for $ 4.5M on May 3, 2005, lot 20 and for $ 11.3M on May 14, 2018, lot 36. The image is shared by Wikimedia.
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1904-1908 Sommertag
2021 SOLD for £ 16.3M by Sotheby's
The cycle of life is the great obsession of Edvard Munch. The stages from love to death are an inexorable tragedy generating a growing anguish : illusion, despair, infidelity, jealousy, humiliation, separation. The artist himself fails to peacefully satiate his sex life.
His meeting in 1902 with Dr. Linde is a relief. Linde, a great fan of Rodin, immediately writes a monograph on Munch's art. In 1904 he commissions a series of paintings from the artist to decorate the children's room in his villa in Lübeck.
Munch achieves this project with about eleven pieces, mostly beach scenes. The artist's old demons have not been annihilated : Linde rejects the set because a few couples are too risque to be seen by his young sons. The paintings, which will be identified as the Linde frieze, are returned to Munch.
Sommertag, summer day, oil on canvas 90 x 195 cm, is an opus from the Linde cycle. Groups of girls symbolize innocence. Unlike Girls on the Bridge, the characters lose their individuality : white dresses and long blond hair are intertwined in blocks.
Munch reworks this painting at an undetermined date. The image becomes Omfavnelse, the embrace. A dark couple has been added to the foreground. The blurry man lowers his head to kiss the woman whose oversized black-rimmed eyes express partner rejection and fear. They are transparent ghosts through which we can see the sea and the shore. The Scream, in 1893, left the possibility of some rescue. Omfavnelse is the post mortem phase. Its terminus ante quem is the great breakdown of the artist in 1908.
Summer day - the Embrace was sold by Sotheby's for £ 6.2M on February 7, 2006, lot 34, and for £ 16.3M on March 25, 2021, lot 115. The image is shared by Wikimedia.
His meeting in 1902 with Dr. Linde is a relief. Linde, a great fan of Rodin, immediately writes a monograph on Munch's art. In 1904 he commissions a series of paintings from the artist to decorate the children's room in his villa in Lübeck.
Munch achieves this project with about eleven pieces, mostly beach scenes. The artist's old demons have not been annihilated : Linde rejects the set because a few couples are too risque to be seen by his young sons. The paintings, which will be identified as the Linde frieze, are returned to Munch.
Sommertag, summer day, oil on canvas 90 x 195 cm, is an opus from the Linde cycle. Groups of girls symbolize innocence. Unlike Girls on the Bridge, the characters lose their individuality : white dresses and long blond hair are intertwined in blocks.
Munch reworks this painting at an undetermined date. The image becomes Omfavnelse, the embrace. A dark couple has been added to the foreground. The blurry man lowers his head to kiss the woman whose oversized black-rimmed eyes express partner rejection and fear. They are transparent ghosts through which we can see the sea and the shore. The Scream, in 1893, left the possibility of some rescue. Omfavnelse is the post mortem phase. Its terminus ante quem is the great breakdown of the artist in 1908.
Summer day - the Embrace was sold by Sotheby's for £ 6.2M on February 7, 2006, lot 34, and for £ 16.3M on March 25, 2021, lot 115. The image is shared by Wikimedia.
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1905 House by the Shore
2002 SOLD for £ 5.2M by Christie's
1905 is a dramatic year in Norway. The personal union under the Bernadotte dynasty imposed with Sweden after the Napoleonic wars leads to a threat of war before being dissolved at the end of the year.
After a much troubled personal life in the previous years, Edvard Munch does not escape the collective paranoia, challenging visitors and going to brawl.
Painted in that year, House by the Shore is a view of his beloved Åsgårdstrand. At first glance the village is quiet, with a sort of procession at the lower right. This is contradicted by the blown gate of the house and by a bell shaped wrap around the two tall leafless trees, like a transparent coffin expressing the pessimistic mood.
This oil on canvas 100 x 130 cm had been qualified as degenerate art by the Nazis. It was sold for £ 5.2M from a lower estimate of £ 1M by Christie's on February 4, 2002, lot 33. The image is shared by Wikimedia.
After a much troubled personal life in the previous years, Edvard Munch does not escape the collective paranoia, challenging visitors and going to brawl.
Painted in that year, House by the Shore is a view of his beloved Åsgårdstrand. At first glance the village is quiet, with a sort of procession at the lower right. This is contradicted by the blown gate of the house and by a bell shaped wrap around the two tall leafless trees, like a transparent coffin expressing the pessimistic mood.
This oil on canvas 100 x 130 cm had been qualified as degenerate art by the Nazis. It was sold for £ 5.2M from a lower estimate of £ 1M by Christie's on February 4, 2002, lot 33. The image is shared by Wikimedia.
1907 Dance on the Beach
2023 SOLD for £ 17M by Sotheby's
Max Reinhardt, recently appointed director of the Deutsches Theater in Berlin, extended it with a Kammerspiele (chamber theater) in 1905. Two plays by Ibsen were successively scheduled in that new place, starting with a replay of Ghosts, a haunting story about modern morality.
Reinhardt entrusts the decoration of the four walls of the entrance of the Kammerspiele to Edvard Munch who as a Norwegian was a compatriot of Ibsen and who worked on similar themes.
Munch executes an immersive suite of twelve friezes 90 cm high in his signature themes, made in tempera on canvas as a tribute to the Renaissance frescoes. The whole work is nearly completed in December 1907.
The largest piece is a Dance on the Beach 4 m long, which is a remake of the Dance of Life that had closed the Frieze of Life in 1900. The new composition is extended on both sides to the empty beach. Other significant opus titles are Desire and Melancholy, also staged in a summer night on the beach outside Munch's house in Aasgaardstrand.
The Reinhardt Frieze was removed from the theater in 1912. Its Dance was acquired by a patron and biographer of the artist, who lost it in an auction forced by the Nazis in 1933. Another friend of Munch managed to acquire it in 1938. After a few months of use in a liner, the painting was hidden in a barn during the Second World War.
After a settlement agreement between the descendants of the two friends of the artist, it was sold for £ 17M from a lower estimate of £ 12M for sale by Sotheby's on March 1, 2023, lot 110. Please watch the video shared by the auction house.
Reinhardt entrusts the decoration of the four walls of the entrance of the Kammerspiele to Edvard Munch who as a Norwegian was a compatriot of Ibsen and who worked on similar themes.
Munch executes an immersive suite of twelve friezes 90 cm high in his signature themes, made in tempera on canvas as a tribute to the Renaissance frescoes. The whole work is nearly completed in December 1907.
The largest piece is a Dance on the Beach 4 m long, which is a remake of the Dance of Life that had closed the Frieze of Life in 1900. The new composition is extended on both sides to the empty beach. Other significant opus titles are Desire and Melancholy, also staged in a summer night on the beach outside Munch's house in Aasgaardstrand.
The Reinhardt Frieze was removed from the theater in 1912. Its Dance was acquired by a patron and biographer of the artist, who lost it in an auction forced by the Nazis in 1933. Another friend of Munch managed to acquire it in 1938. After a few months of use in a liner, the painting was hidden in a barn during the Second World War.
After a settlement agreement between the descendants of the two friends of the artist, it was sold for £ 17M from a lower estimate of £ 12M for sale by Sotheby's on March 1, 2023, lot 110. Please watch the video shared by the auction house.
1926 Self Portrait with a Palette
2021 SOLD for £ 4.3M by Sotheby's
An artist does not only create and disclose his conception of the world, he also seeks his place in it. From 1882 to 1943 Edvard Munch painted self-portraits on which he is always surly, even circa 1940 when eating a head of cod.
In 1926 he has become famous. For ten years, in Ekely near Oslo, he cultivates his garden as Monet did in Giverny. At 63, eighteen years after his great breakdown and seven years after the Spanish flu, his health problems have disappeared.
A self-portrait with a palette, oil on canvas 90 x 68 cm painted in 1926, was sold for £ 4.3M by Sotheby's on March 25, 2021, lot 114.
In this image, the weather is fine and the open shirt collar shows a certain relaxation. The attitude, however, is particularly repulsive. He does not seek to communicate but to identify where he is in his own life cycle. The palette is the symbol of his main activity, the only one that can accompany his mystical questioning.
In 1926 he has become famous. For ten years, in Ekely near Oslo, he cultivates his garden as Monet did in Giverny. At 63, eighteen years after his great breakdown and seven years after the Spanish flu, his health problems have disappeared.
A self-portrait with a palette, oil on canvas 90 x 68 cm painted in 1926, was sold for £ 4.3M by Sotheby's on March 25, 2021, lot 114.
In this image, the weather is fine and the open shirt collar shows a certain relaxation. The attitude, however, is particularly repulsive. He does not seek to communicate but to identify where he is in his own life cycle. The palette is the symbol of his main activity, the only one that can accompany his mystical questioning.
#AuctionUpdate The first formal self-portrait by #EdvardMunch to come to the market in 15 years sells for £4.3 million in its auction debut. pic.twitter.com/HjwD1oAFX1
— Sotheby's (@Sothebys) March 25, 2021
