Becoming Edvard Munch: Influence, Anxiety, and Myth

01

of 19

The Boulevard des Capucines, 1873

© Nelson-Atkins Museum of Art, Kansas City, Missouri; used with permission — Claude Monet (French, 1840-1926) Claude Monet (French, 1840-1926). The Boulevard des Capucines, 1873. Oil on canvas. 80.3 x 60.3 cm (31 5/8 x 23 3/4 in.). Purchase, The Kenneth A. and Helen F. Spencer Foundation Acquisition Fund, F72-35. © Nelson-Atkins Museum of Art, Kansas City, Missouri

On View February 14-April 26, 2009 at The Art Institute of Chicago

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel. Miss it and you may have cause to ... scream.

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

02

of 19

By Lamplight, 1890

© The Rasmus Meyer Collection, The Bergen Art Museum; used with permission — Harriet Backer (Norwegian, 1845-1932) Harriet Backer (Norwegian, 1845-1932). By Lamplight, 1890. Oil on canvas. 64.7 x 66.5 cm (25 1/2 x 26 1/8 in.). RMS.M.20. © The Rasmus Meyer Collection, The Bergen Art Museum

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

03

of 19

A Funeral, 1891

© Statens Museum for Kunst, Copenhagen; used with permission — Anna Ancher (Danish, 1859-1935) Anna Ancher (Danish, 1859-1935). A Funeral, 1891. Oil on canvas. 103.5 x 124.5 cm (40 3/4 x 49 in.). KMS 1433. © Statens Museum for Kunst, Copenhagen

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

04

of 19

Rue de Rivoli, 1891

© 2008 The Munch Museum / The Munch-Ellingsen Group; used with permission — Edvard Munch (Norwegian, 1863-1944) Edvard Munch (Norwegian, 1863-1944). Rue de Rivoli, 1891. Oil on canvas. 81 x 65.1 cm (31 7/8 x 25 5/8 in.). Gift of Rudolf Serkin. Harvard Art Museums, Fogg Art Museum. © 2008 The Munch Museum / The Munch-Ellingsen Group / Artists Rights Society (ARS), NY

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized, and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

05

of 19

Evening on Karl Johan, 1892

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

06

of 19

Kiss by the Window, 1892

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

07

of 19

Death in the Sickroom, 1893

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

08

of 19

The Girl by the Window, 1893

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

09

of 19

Starry Night, 1893

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

10

of 19

Summer Night's Dream: The Voice, 1893

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

11

of 19

Sin, ca. 1893

© Gallery Katharina Büttiker, Art Nouveau - Art Deco, Zurich; used with permission — Franz von Stuck (German, 1863-1928) Franz von Stuck (German, 1863-1928). Sin, ca. 1893. Oil on canvas. 88 x 53.3 cm (34 5/8 x 21 in.). © Gallery Katharina Büttiker, Art Nouveau - Art Deco, Zurich

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

12

of 19

Anxiety, 1894

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

13

of 19

Melancholy, 1894/96

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

14

of 19

Moonlight, 1895

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

15

of 19

Self-Portrait with Cigarette, 1895

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

16

of 19

The Scream, 1895

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

17

of 19

Madonna, 1895

Additions in brush and red, green, blue, black, and yellow watercolor on gray-blue wove paper (discolored to gray-green), laid on heavyweight white wove paper.

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

18

of 19

The Sick Child, 1896

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.

19

of 19

Golgotha, 1900

About the Show:

Becoming Edvard Munch: Influence, Anxiety, and Myth brings together approximately 150 rarely seen works, including 75 paintings and 75 works on paper by Munch and contemporary artists including James Ensor, Paul Gauguin, Vincent van Gogh, Max Klinger, and Claude Monet. Viewed in context, and in proximity to concurrent artistic trends, we are confronted with the truth that Edvard Munch wasn't nearly as dark and tormented as many of us have supposed. Rather, he was more shrewd than agonized and keenly aware of that which would sell. Munch played the neurotic card adeptly in the course of promoting his work, though subject to relatively only as much heartbreak and sorrow as are most humans. This aspect of the exhibition is truly revelatory.

Becoming Edvard Munch: Influence, Anxiety, and Myth was organized by the Art Institute of Chicago, is exclusive to this sole venue and will not travel.