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{{Short description|Norwegian painter (1863–1944)}}
{{For|the film|Edvard Munch (film){{!}}''Edvard Munch'' (film)}}
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{{Infobox artist
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'''Edvard Munch''' ({{IPAc-en|m|ʊ|ŋ|k}} {{Respell|MUUNK}},{{sfn|Wells|2008|p=}} {{IPA-no|ˈɛ̀dvɑɖ ˈmʊŋk|lang|Edvard_Munch_pronunciation.ogg}}; 12 December 1863 – 23 January 1944) was a Norwegian painter. His 1893 work
His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the [[Norwegian National Academy of Fine Arts|Royal School of Art and Design]] in [[Kristiania]] (today's Oslo), Munch began to live a bohemian life under the influence of the nihilist [[Hans Jæger]], who urged him to paint his own emotional and psychological state ('[[Expressionism|soul painting]]'); from this emerged his distinctive style.
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The family moved to [[Oslo]] (then called Christiania and renamed to Kristiania in 1877) in 1864 when Christian Munch was appointed medical officer at [[Akershus Fortress]]. Edvard's mother died of [[tuberculosis]] in 1868, as did Munch's favorite sister Johanne Sophie in 1877.<ref name=Eg_p16>{{harvnb|Eggum|1984|p=16}}</ref> After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories and the tales of the American writer [[Edgar Allan Poe]].<ref>{{harvnb|Prideaux|2005|p=17}}</ref>
As Edvard remembered it, Christian's positive behavior towards his children was overshadowed by his morbid [[pietism]]. Munch wrote, "My father was temperamentally nervous and obsessively religious—to the point of [[psychoneurosis]]. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born."<ref>{{harvnb|Prideaux|2005|p=2}}</ref> Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, Edvard's poor health, and the vivid ghost stories helped inspire his macabre visions and nightmares;
Christian Munch's military pay was very low, and his attempts to develop a private side practice failed, keeping his family in genteel but perennial poverty.<ref name=Eg_p16/> They moved frequently from one cheap [[apartment|flat]] to another. Munch's early drawings and watercolors depicted these interiors, and the individual objects, such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch's interests.<ref>{{harvnb|Eggum|1984|p=22}}</ref> At 13, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils.<ref>{{harvnb|Prideaux|2005|pp=22–23}}</ref>
===Mental health===
[[File:Despair Edvard Munch 1894.jpeg|thumb|''Despair'' by Edvard Munch (1894) displays emotion that could be seen as related to [[Dissociation (psychology)|dissociation]] or [[Depression (mood)|depression]] in [[borderline personality disorder]].]]
===Studies and influences===
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[[Impressionism]] inspired Munch from a young age.<ref>{{Cite web|url=http://www.edvard-munch.org/kiss-by-the-window/|title=Kiss by the Window by Edvard Munch|website=www.edvard-munch.org|access-date=3 October 2021|archive-date=3 October 2021|archive-url=https://web.archive.org/web/20211003134143/http://www.edvard-munch.org/kiss-by-the-window/|url-status=live}}</ref> During these early years, he experimented with many styles, including [[Naturalism (painting)|Naturalism]] and Impressionism. Some early works are reminiscent of Manet. Many of these attempts brought him unfavorable criticism from the press and garnered him constant rebukes by his father, who nonetheless provided him with small sums for living expenses.<ref name=Pr_p34/> At one point, however, Munch's father, perhaps swayed by the negative opinion of Munch's cousin [[Edvard Diriks]] (an established, traditional painter), destroyed at least one painting (likely a nude) and refused to advance any more money for art supplies.<ref>{{harvnb|Eggum|1984|p=43}}</ref>
Munch also received his father's ire for his relationship with [[Hans Jæger]], the local nihilist who lived by the code "a passion to destroy is also a creative passion" and who advocated suicide as the ultimate way to freedom.<ref name="Prideaux">{{harvnb|Prideaux|2005|pp=71, 74}}</ref> Munch came under his malevolent, anti-establishment spell. "My ideas developed under the influence of the [[Bohemianism|bohemians]] or rather under Hans Jæger. Many people have mistakenly claimed that my ideas were formed under the influence of [[August Strindberg|Strindberg]] and the Germans ... but that is wrong. They had already been formed by then."<ref>{{harvnb|Prideaux|2005|p=71}}</ref> At that time, contrary to many of the other bohemians, Munch was still respectful of women, as well as reserved and well-mannered, but he began to give in to the binge drinking and brawling of his circle. He was unsettled by the sexual revolution going on at the time and by the independent women around him. He later turned cynical concerning sexual matters, expressed not only in his behavior and his art, but in his writings as well, an example being a long poem called ''The City of Free Love''.<ref>{{harvnb|Prideaux|2005|p=72}}</ref>
After numerous experiments, Munch concluded that the Impressionist idiom did not allow sufficient expression. He found it superficial and too akin to scientific experimentation. He felt a need to go deeper and explore situations brimming with emotional content and expressive energy. Under Jæger's commandment that Munch should "write his life", meaning that Munch should explore his own emotional and psychological state, the young artist began a period of reflection and self-examination, recording his thoughts in his "soul's diary".<ref>{{harvnb|Prideaux|2005|p=83}}</ref> This deeper perspective helped move him to a new view of his art. He wrote that his painting ''[[The Sick Child (Munch)|The Sick Child]]'' (1886), based on his sister's death, was his first "soul painting", his first break from Impressionism. The painting received a negative response from critics and from his family, and caused another "violent outburst of moral indignation" from the community.<ref>{{harvnb|Prideaux|2005|p=88}}</ref>
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In Berlin, Munch became involved in an international circle of writers, artists and critics, including the Swedish dramatist and leading intellectual [[August Strindberg]], whom he painted in 1892.{{sfn|Morehead|2019|pp=19–34}} He also met Danish writer and painter [[Holger Drachmann]], whom he painted in 1898. Drachmann was 17 years Munch's senior and a drinking companion at [[Zum schwarzen Ferkel]] (At the Black Piglet) in 1893–94.<ref>{{harvnb|Munch|2005|p=119}}</ref> In 1894 Drachmann wrote of Munch: "He struggles hard. Good luck with your struggles, lonely Norwegian."<ref>{{harvnb|Munch|2005|p=7}}</ref>
During his four years in Berlin, Munch sketched out most of the ideas that would be comprised in his major work, ''The Frieze of Life'', first designed for book illustration but later expressed in paintings.<ref>{{harvnb|Eggum|1984|p=77}}</ref> He sold little, but made some income from charging entrance fees to view his controversial paintings.<ref>{{harvnb|Prideaux|2005|p=153}}</ref>
[[File:'At the Deathbed' by Edvard Munch, 1895, Bergen Kunstmuseum.JPG|thumb|'At the Deathbed' by Edvard Munch, 1895, Bergen Kunstmuseum]]
His other paintings, including casino scenes, show a simplification of form and detail which marked his early mature style.<ref>{{harvnb|Eggum|1984|p=79}}</ref> Munch also began to favor a shallow pictorial space and a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions, as in ''Ashes'', the figures impart a monumental, static quality. Munch's figures appear to play roles on a theatre stage (''[[Death in the Sick-Room]]''), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in ''[[The Scream]]'', Munch's men and women began to appear more symbolic than realistic. He wrote, "No longer should interiors be painted, people reading and women knitting: there would be living people, breathing and feeling, suffering and loving."<ref name=Eg_p10>{{harvnb|Eggum|1984|p=10}}</ref>
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{{Main|The Scream}}
[[File:Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway.jpg|thumb|''[[The Scream]]'' (1893), [[National Museum of Art, Architecture and Design|National Gallery]], Oslo]]
''The Scream'' exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several [[Lithography|lithographs]] of ''The Scream'' (1895 and later).<ref>{{cite web |author=Alan Parker |date=2 May 2012 |title=Will The Real Scream Please Stand Up |url=http://blogs.canoe.ca/parker/general/will-the-real-scream-please-stand-up/ |url-status=usurped |archive-url=https://archive.today/20120707082137/http://blogs.canoe.ca/parker/general/will-the-real-scream-please-stand-up/ |archive-date=7 July 2012 |access-date=6 May 2012}}</ref>
The 1895 pastel sold at auction on 2 May 2012 for [[US$]]119,922,500, including commission. It is the most colorful of the versions{{sfn|Vogel|2012}} and is distinctive for the downward-looking stance of one of its background figures. It is also the only version not held by a Norwegian museum.<ref>{{Cite news |last=Crow |first=Kelly |date=11 July 2012 |title=An Art Mystery Solved: Mogul Is 'Scream' Buyer |url=https://www.wsj.com/articles/SB10001424052702304373804577521240470769420 |url-status=bot: unknown |archive-url=https://web.archive.org/web/20230424005650/https://www.wsj.com/articles/SB10001424052702304373804577521240470769420 |archive-date=24 April 2023 |access-date=19 January 2024 |work=[[The Wall Street Journal]] |quote=Mr. Black's is the only one not in an Oslo museum }}</ref>
The 1893 version was stolen from the [[National Museum of Art, Architecture and Design|National Gallery]] in Oslo in 1994 and was recovered. The 1910 painting was stolen in 2004 from the [[Munch Museum]] in Oslo, but recovered in 2006 with limited damage.<ref>{{Cite news |title=Stolen Munch paintings found safe |url=http://news.bbc.co.uk/2/hi/entertainment/5303200.stm |url-status=live |archive-url=https://web.archive.org/web/20240114210417/http://news.bbc.co.uk/2/hi/entertainment/5303200.stm |archive-date=14 January 2024 |access-date=19 January 2024 |work=[[BBC News]]}}</ref>
''The Scream'' is Munch's most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man.<ref name=Eg_p10/> Painted with broad bands of garish color and highly simplified forms, and employing a high viewpoint, it reduces the agonized figure to a garbed skull in the throes of an emotional crisis.{{cn|date=December 2023}}
With this painting, Munch met his stated goal of "the study of the soul, that is to say the study of my own self".<ref>{{harvnb|Faerna|1995|p=16}}</ref> Munch wrote of how the painting came to be: "I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature."<ref>{{harvnb|Faerna|1995|p=17}}</ref> He later described the personal anguish behind the painting, "for several years I was almost mad... You know my picture, 'The Scream?' I was stretched to the limit—nature was screaming in my blood... After that I gave up hope ever of being able to love again."<ref>{{harvnb|Prideaux|2005|p=152}}</ref>
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<blockquote>''[[Whistler's Mother]]'', Wood's ''[[American Gothic]]'', Leonardo da Vinci's ''[[Mona Lisa]]'' and Edvard Munch's ''The Scream'' have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture.{{sfn|MacDonald|2003|p=80}}</blockquote>
===''Frieze of
[[File:Edvard Munch - Madonna - Google Art Project.jpg|thumb|Although it is a highly unusual representation, [[Madonna (Edvard Munch)|this painting]] might be of the [[Mary (mother of Jesus)|Virgin Mary]]. Whether the painting is specifically intended as a representation of Mary is disputed. Munch used more than one title, including both ''Loving Woman'' and ''Madonna''.{{sfn|Bischoff|2000|p=42}}{{efn|Munch is not famous for religious artwork and was not known as a Christian. The affinity to Mary might be intended nevertheless, as an emphasis on the beauty and perfection of his friend [[Dagny Juel-Przybyszewska]], the model for the work, and an expression of his worship of her as an ideal of womanhood.{{sfn|Gerner|1993|p=}}<small>(1894, oil on canvas, {{cvt|90|×|68|cm|in|frac=4}}, [[Munch Museum]], Oslo)</small>}}]]
In December 1893, [[Unter den Linden]] in Berlin was the location of an exhibition of Munch's work, showing, among other pieces, six paintings entitled ''Study for a Series: Love.'' This began a cycle he later called the ''Frieze of
Around the start of the 20th century, Munch worked to finish the "Frieze". He painted a number of pictures, several of them in bigger format and to some extent featuring the [[Art Nouveau]] aesthetics of the time. He made a wooden frame with carved reliefs for the large painting ''Metabolism'' (1898), initially called ''Adam and Eve''. This work reveals Munch's pre-occupation with the "fall of man" and his pessimistic philosophy of love. Motifs such as ''The Empty Cross'' and ''Golgotha'' (both {{circa|1900}}) reflect a metaphysical orientation, and also reflect Munch's pietistic upbringing. The entire ''Frieze'' was shown for the first time at the [[Berlin Secession|secessionist]] exhibition in Berlin in 1902.<ref>{{harvnb|Prideaux|2005|p=211}}</ref>
"The Frieze of Life" themes recur throughout Munch's work but he especially focused on them in the mid-1890s. In sketches, paintings, pastels and prints, he tapped the depths of his feelings to examine his major motifs: the stages of life, the femme fatale, the hopelessness of love, anxiety, infidelity, jealousy, sexual humiliation, and separation in life and death.<ref>{{harvnb|Eggum|1984|pp=116–118}}</ref> These themes are expressed in paintings such as ''[[The Sick Child (Munch)|The Sick Child]]'' (1885), ''Love and Pain'' (retitled ''Vampire''; 1893–94), ''[[Ashes (Munch)|Ashes]]'' (1894), and ''The Bridge''. The latter shows limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Munch portrayed women either as frail, innocent sufferers (see ''[[Puberty (Edvard Munch)|Puberty]]'' and ''Love and Pain'') or as the cause of great longing, jealousy and despair (see ''Separation'', ''Jealousy'', and ''Ashes'').
Munch often uses shadows and rings of color around his figures to emphasize an aura of fear, menace, anxiety, or sexual intensity.<ref>{{harvnb|Eggum|1984|p=122}}</ref> These paintings have been interpreted as reflections of the artist's sexual anxieties, though it could also be argued that they represent his turbulent relationship with love itself and his general pessimism regarding human existence.<ref>{{harvnb|Faerna|1995|p=6}}</ref> Many of these sketches and paintings were done in several versions, such as ''Madonna'', ''Hands'' and ''Puberty'', and also transcribed as wood-block prints and lithographs. Munch hated to part with his paintings because he thought of his work as a single body of expression. So to capitalize on his production and make some income, he turned to graphic arts to reproduce many of his paintings, including those in this series.<ref name=Fa_p5>{{harvnb|Faerna|1995|p=5}}</ref> Munch admitted to the personal goals of his work but he also offered his art to a wider purpose, "My art is really a voluntary confession and an attempt to explain to myself my relationship with life—it is, therefore, actually a sort of egoism, but I am constantly hoping that through this I can help others achieve clarity."<ref>{{harvnb|Eggum|1984|p=118}}</ref>
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While attracting strongly negative reactions, in the 1890s Munch began to receive some understanding of his artistic goals, as one critic wrote, "With ruthless contempt for form, clarity, elegance, wholeness, and realism, he paints with intuitive strength of talent the most subtle visions of the soul."<ref>{{harvnb|Eggum|1984|p=121}}</ref> One of his great supporters in Berlin was [[Walther Rathenau]], later the German [[foreign minister]], who strongly contributed to his success.
=== Landscapes and Nature ===
[[File:Thuringian Forest by Edvard Munch, Dallas Museum of Art.jpg|thumb|300x300px|''From Thuringerwald'', 1905, oil on canvas. The work depicts a sinuous cut through the forest with a fleshy earth that harkens back to a physical connection to the viewer.
===Paris, Berlin and Kristiania===
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In 1896, Munch moved to Paris, where he focused on graphic representations of his ''Frieze of Life'' themes. He further developed his woodcut and lithographic technique. Munch's ''Self-Portrait with Skeleton Arm'' (1895) is done with an etching needle-and-ink method also used by [[Paul Klee]].<ref name=Eg_p141>{{harvnb|Eggum|1984|p=141}}</ref> Munch also produced multi-colored versions of ''The Sick Child'', [[Tuberculosis in human culture|concerning tuberculosis]], which sold well, as well as several nudes and multiple versions of ''Kiss'' (1892).<ref name=Eg_p141/> In May 1896, [[Siegfried Bing]] held an exhibition of Munch's work inside Bing's [[Maison de l'Art Nouveau]]. The exhibition displayed 60 works, including ''The Kiss, The Scream, Madonna, The Sick Child, The Death Chamber, and The Day After.'' Bing's exhibition helped to introduce Munch to a French audience.<ref>{{Cite book|last=Weisberg|first=Gabriel P.|title=Art Nouveau Bing|publisher=Harry N. Abrams, Inc.|year=1986|isbn=0-8109-1486-7|location=New York|pages=112–115|language=English}}</ref> Still, many of the Parisian critics still considered Munch's work "violent and brutal" even if his exhibitions received serious attention and good attendance.<ref>{{harvnb|Eggum|1984|p=152}}</ref> His financial situation improved considerably and, in 1897, Munch bought himself a summer house facing the fjords of Kristiania, a small fisherman's cabin built in the late 18th century, in the small town of [[Åsgårdstrand]] in Norway. He dubbed this home the "Happy House" and returned here almost every summer for the next 20 years.<ref name=Eg_p153/> It was this place he missed when he was abroad and when he felt depressed and exhausted. "To walk in Åsgårdstrand is like walking among my paintings—I get so inspired to paint when I am here".
[[File:Aase and Harald Nørregaard.jpeg|thumb|[[Harald Nørregaard]] (
In 1897 Munch returned to Kristiania, where he also received grudging acceptance—one critic wrote, "A fair number of these pictures have been exhibited before. In my opinion these improve on acquaintance."<ref name=Eg_p153>{{harvnb|Eggum|1984|p=153}}</ref> In 1899, Munch began an intimate relationship with Tulla Larsen, a "liberated" upper-class woman. They traveled to Italy together and upon returning, Munch began another fertile period in his art, which included landscapes and his final painting in "The Frieze of Life" series, ''The Dance of Life'' (1899).<ref>{{harvnb|Eggum|1984|p=168}}</ref> Larsen was eager for marriage, but Munch was not. His drinking and poor health reinforced his fears, as he wrote in the third person: "Ever since he was a child he had hated marriage. His sick and nervous home had given him the feeling that he had no right to get married."<ref name=Eg_p174>{{harvnb|Eggum|1984|p=174}}</ref> Munch almost gave in to Tulla, but fled from her in 1900, also turning away from her considerable fortune, and moved to Berlin.<ref name=Eg_p174/> His ''Girls on the Jetty''{{clarify|"Young Girls on a Bridge"?|date=November 2023}}, created in 18 different versions, demonstrated the theme of feminine youth without negative connotations.<ref name=Fa_p5/> In 1902, he displayed his works thematically at the hall of the Berlin Secession, producing "a symphonic effect—it made a great stir—a lot of antagonism—and a lot of approval."<ref>{{harvnb|Eggum|1984|p=176}}</ref> The Berlin critics were beginning to appreciate Munch's work even though the public still found his work alien and strange.
The good press coverage gained Munch the attention of influential patrons Albert Kollman and [[Max Linde]]. He described the turn of events in his diary, "After 20 years of struggle and misery forces of good finally come to my aid in Germany—and a bright door opens up for me."<ref>{{harvnb|Eggum|1984|p=181}}</ref> However, despite this positive change, Munch's self-destructive and erratic behavior led him first to a violent quarrel with another artist, then to an accidental shooting in the presence of Tulla Larsen, who had returned for a brief reconciliation, which injured two of his fingers. Munch later sawed [[Caricature Portrait of Tulla Larsen|a self-portrait depicting him and Larsen]] in half as a consequence of the shooting and subsequent events.{{sfn|Thorpe|2019}} She finally left him and married a younger colleague of Munch. Munch took this as a betrayal, and he dwelled on the humiliation for some time to come, channeling some of the bitterness into new paintings.<ref>{{harvnb|Eggum|1984|p=183}}</ref> His paintings ''Still Life (The Murderess)'' and ''The Death of Marat I'', done in 1906–07, clearly reference the shooting incident and the emotional after-effects.<ref>{{harvnb|Eggum|1984|p=214}}</ref>
In 1903–04, Munch exhibited in Paris where the coming [[Fauvism|Fauvists]], famous for their boldly false colors, likely saw his works and might have found inspiration in them. When the Fauves held their own exhibit in 1906, Munch was invited and displayed his works with theirs.<ref>{{harvnb|Eggum|1984|p=190}}</ref> After studying the sculpture of [[Auguste Rodin|Rodin]], Munch may have experimented with [[plasticine]] as an aid to design, but he produced little sculpture.<ref>{{harvnb|Eggum|1984|p=195}}</ref> During this time, Munch received many commissions for portraits and prints which improved his usually precarious financial condition.<ref>{{harvnb|Eggum|1984|pp=196, 203}}</ref> In 1906, he painted the screen for an [[Henrik Ibsen|Ibsen]] play in the small Kammerspiele Theatre located in Berlin's [[Deutsches Theater (Berlin)|Deutsches Theater]], in which the ''Frieze of Life'' was hung. The theatre's director [[Max Reinhardt]] later sold it; it is now in the Berlin [[Nationalgalerie]].{{sfn|Bernau|2005|pp=65–78}} After an earlier period of landscapes, in 1907 he turned his attention again to human figures and situations.<ref>{{harvnb|Eggum|1984|p=228}}</ref>
===Breakdown and recovery===
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In April 2019 the [[British Museum]] hosted the exhibition, ''Edvard Munch: Love and Angst'', comprising 83 artworks and including a rare original print of ''The Scream''.<ref>{{Cite web|date=8 April 2019|title=Edvard Munch: Love and Angst review – 'Ripples of trauma hit you like a bomb'|url=http://www.theguardian.com/artanddesign/2019/apr/09/scream-edvard-munch-love-and-angst-review-british-museum|access-date=21 January 2021|website=the Guardian|language=en|archive-date=21 January 2021|archive-url=https://web.archive.org/web/20210121035645/https://www.theguardian.com/artanddesign/2019/apr/09/scream-edvard-munch-love-and-angst-review-british-museum|url-status=live}}</ref>
In May 2022 the [[Courtauld Gallery]] hosted the exhibition, ''Edvard Munch. Masterpieces from Bergen'', showcasing 18 paintings from Norwegian industrialist [[Rasmus Meyer]]'s collection.<ref>{{Cite web |date=
In June 2023 the [[Clark Art Institute]] hosted the exhibition ''Edvard Munch: Trembling Earth''. It is the first exhibit in the United States to focus on how Munch used nature to convey deeper meaning in his painting. ''Trembling Earth'' features more than 75 works, many from the [[Munch Museum|Munchmuseet]]'s collection, and over 40 paintings and prints from rarely seen private collections.<ref name=":0">{{Cite web |title=Edvard Munch |url=https://www.clarkart.edu/exhibition/detail/edvard-munch-trembling-earth |access-date=
In September 2023, the [[Berlinische Galerie]] Museum for Modern Art hosted an exhibition ''Edvard Munch. Magic of the North'' in collaboration with the Munch Museum Oslo. The exhibition includes around 80 works by Edvard Munch, supplemented by works by other artists who shaped the idea of the north and the modern art scene on the Spree in Berlin at the end of the 19th century.<ref>{{cite web | url=https://berlinischegalerie.de/ausstellungen/vorschau/edvard-munch/ | title=Edvard Munch | date=15 September 2023 }}</ref>
In November 2023, the [[Museum Barberini]] in [[Potsdam]] also hosted an exhibition ''Edvard Munch: Trembling Earth'' in collaboration with the Munch Museum Oslo. The exhibition overlaps the Berlinische Galerie exhibition by eight weeks, both exhibitions are under the joint patronage of German President [[Frank-Walter Steinmeier]] and His Majesty [[Harald V|King Harald V]] of Norway. The exhibition includes more than 110 loans from other institutions.<ref>{{Cite web |title=Edvard Munch: Trembling Earth|url=https://www.museum-barberini.de/en/ausstellungen/9500/edvard-munch-trembling-earth|access-date=18 November 2023}}</ref>
===University Aula===
[[File:Universitetets Aula (151651).jpg|thumb|upright=1.3|The Aula featuring ''History'' (left), ''The Sun'' (front), ''Alma Mater'' (right), smaller paintings on corners]]
In 1911 the final competition for the decoration of the large walls of the University of Oslo Aula (assembly hall) was held between Munch and [[Emanuel Vigeland]]. The episode is known as the "Aula controversy". In 1914 Munch was finally commissioned to decorate the Aula and the work was completed in 1916. This major work in Norwegian monumental painting includes 11 paintings covering {{cvt|223|m2}}. ''The Sun'', ''History'' and ''Alma Mater'' are the key works in this sequence. Munch declared: "I wanted the decorations to form a complete and independent world of ideas, and I wanted their visual expression to be both distinctively Norwegian and universally human". In 2014 it was suggested that the Aula paintings have a value of at least 500 million kroner.<ref>{{cite web |url=http://www.uio.no/om/kultur/kunst/aulaen/index.html |title=Edvard Munch i Universitetets aula |publisher=[[University of Oslo]] |date=3 January 2013 |access-date=15 November 2014 |archive-date=29 November 2014 |archive-url=https://web.archive.org/web/20141129022118/http://www.uio.no/om/kultur/kunst/aulaen/index.html |url-status=live }}</ref><ref>Universitas, 29 October 2014.{{full citation needed|date=September 2018}}</ref>
=== Looted art controversies ===
In 2007, Munch's ''Summer Night at the Beach'' was returned to the granddaughter of Alma Mahler, who was forced to flee the Nazis with her Jewish husband in March 1938, after Hitler's annexation of Austria.<ref>{{Cite web |title=Munch painting sought |url=https://www.lootedart.com/news.php?r=ML21QY265421 |access-date=2024-01-30 |website=www.lootedart.com}}</ref> <ref>{{Cite web |title=Munch painting stolen by Nazis is returned to Mahler heir |url=https://www.lootedart.com/news.php?r=MKP5VR311981 |access-date=2024-01-30 |website=www.lootedart.com}}</ref> In 2008 the Basel Fine Arts Museum rejected a claim for Munch's ''Madonna, a'' lithograph of a nude in black, red and blue'','' from the heirs of the Jewish collector Curt Glaser. <ref>{{Cite web |last=swissinfo.ch |first=Catherine Hickley |date=2017-11-28 |title=Basel faces pressure to return art once owned by Jewish historian |url=https://www.swissinfo.ch/eng/culture/curt-glaser-family_basel-faces-pressure-to-return-jewish-art/43707456 |access-date=2024-01-30 |website=SWI swissinfo.ch |language=en}}</ref> In 2012 Berlin’s Kupferstichkabinett restituted three drawings by Munch to the heirs of [[Curt Glaser]], a Jewish collector forced into exile by the Nazis.<ref>{{Cite web |title=Munch, Kirchner Artworks Return to Jewish Collector's Heirs |url=https://lootedart.com/news.php?r=PRGLVT719731 |access-date=2024-01-30 |website=lootedart.com}}</ref> In 2012, a claim for ''The Scream'' from the heirs of [[Hugo Simon (art collector)|Hugo Simon]] was rejected as it went to auction.<ref>{{Cite web |last=Algemeiner |first=The |date=2012-10-24 |title=Lawyer Seeking Return of Nazi Stolen Art: There is Real Prejudice Against Jewish Claimants - Algemeiner.com |url=https://www.algemeiner.com/2012/10/24/lawyer-seeking-return-of-nazi-stolen-art-there-is-real-prejudice-against-jewish-claimants/ |access-date=2024-01-30 |website=www.algemeiner.com |language=en-US}}</ref> In 2023 Munch's ''Dance on the Beach'' was the object of an accord between the Glaser heirs and the heirs of Thomas Olsen, a Norwegian shipowner and Munch’s neighbour and collector.<ref>{{Cite web |date=2023-01-16 |title=Another monumental Munch painting once hidden from Nazis in a barn heads to the block |url=https://www.theartnewspaper.com/2023/01/16/another-monumental-munch-painting-once-hidden-from-nazis-in-a-barn-norway-heads-to-the-block |access-date=2024-01-30 |website=The Art Newspaper - International art news and events}}</ref>
==Major works==
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===Photographs===
<gallery widths="140" heights="140" mode="packed">
File:Edvard Munch - Self-Portrait at 53 Am Strom in Warnemünde - Google Art Project (cropped).jpg|''Self-Portrait at 53 Am Strom in Warnemünde'', 1907, [[Munch Museum]], Oslo
File:Edvard Munch - Edvard Munch at the Beach in Warnemünde - Google Art Project.jpg|''Edvard Munch at the Beach in Warnemünde'', 1907, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait “à la Marat” - Google Art Project.jpg|''Self-Portrait "à la Marat"'', 1908–09, [[Munch Museum]], Oslo
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==See also==
* ''[[Edvard Munch (film)|Edvard Munch]]'', a 1974 biographical film
* [[List of claims for restitution for Nazi-looted art]]
==Notes==
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* {{MoMA artist|4164}}
* [http://www.thehindu.com/opinion/op-ed/oslo-goes-high-on-old-munch/article4775730.ece Oslo goes high on ‘Old Munch]
* [http://abcgallery.com/M/munch/munch.html Munch at Olga's Gallery] {{Webarchive|url=https://web.archive.org/web/20070831104129/http://www.abcgallery.com/M/munch/munch.html |date=31 August 2007 }}—large online collection of Munch's works (over 200 paintings)
* [http://www.artcyclopedia.com/artists/munch_edvard.html Munch at artcyclopedia]
* [http://www.wikigallery.org/wiki/artist36535/Edvard-Munch/page-1 Edvard Munch at WikiGallery.org]
* [http://www.moreeuw.com/histoire-art/exposition-munch-pompidou.htm Exhibition "Edvard Munch L'oeil moderne"—Centre Pompidou, Paris 2011]
* [http://samling.nasjonalmuseet.no/en/folder/34 Edvard Munch at Norway's National Museum of Art, Architecture and Design] {{Webarchive|url=https://web.archive.org/web/20190325040146/http://samling.nasjonalmuseet.no/en/folder/34 |date=25 March 2019 }}
{{Edvard Munch}}
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[[Category:People from Løten]]
[[Category:Symbolist painters]]
[[Category:Pastel artists]]
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