LaurieAnnie's photos with the keyword: Munch

Title: Night in Saint-Cloud Artist: Edvard Munch (Norwegian, Løten 1863–1944 Ekely) Date: 1893 Medium: Oil on canvas Dimensions: 27 9/16 x 22 5/16 in. (70 x 56.7 cm) Classification: Paintings Credit Line: Private collection Accession Number: L.2018.2 Munch first undertook this composition in 1890 (Nasjonalmuseet, Oslo), while living in the Parisian suburb of Saint-Cloud. His friend, the Danish poet Emanuel Goldstein, posed for the enigmatic top-hatted figure silhouetted in the moonlight. The melancholy mood has been related to the recent death of Munch’s father, but the scene seems to have held broader significance for the artist. He repeated it several times in different media; this version was painted in 1893, in Berlin, at a time when he made a number of nocturnal window scenes, notable for their intimate atmosphere and evocative light effects. Text from: www.metmuseum.org/art/collection/search/441924

Title: Night in Saint-Cloud Artist: Edvard Munch (Norwegian, Løten 1863–1944 Ekely) Date: 1893 Medium: Oil on canvas Dimensions: 27 9/16 x 22 5/16 in. (70 x 56.7 cm) Classification: Paintings Credit Line: Private collection Accession Number: L.2018.2 Munch first undertook this composition in 1890 (Nasjonalmuseet, Oslo), while living in the Parisian suburb of Saint-Cloud. His friend, the Danish poet Emanuel Goldstein, posed for the enigmatic top-hatted figure silhouetted in the moonlight. The melancholy mood has been related to the recent death of Munch’s father, but the scene seems to have held broader significance for the artist. He repeated it several times in different media; this version was painted in 1893, in Berlin, at a time when he made a number of nocturnal window scenes, notable for their intimate atmosphere and evocative light effects. Text from: www.metmuseum.org/art/collection/search/441924

Summer Night's Dream (The Voice) Edvard Munch (Norwegian, 1863–1944) 1893 Medium/Technique: Oil on canvas Dimensions: 87.9 x 108 cm (34 5/8 x 42 1/2 in.) Credit Line: Ernest Wadsworth Longfellow Fund Accession Number: 59.301 Collections: Europe Classifications: Paintings Munch was strongly influenced by the work of Vincent van Gogh and Paul Gauguin, in particular their use of color and form to evocative, expressive ends. In the late 1880s, Munch conceived an epic series of paintings entitled “The Frieze of Life,” which dealt poetically and symbolically with life, love, and death. Many of his most memorable images were part of this ultimately unfinished project. “Summer Night’s Dream,” the first work in the cycle of Love, portrays the initial glimmer of adolescent sexual awakening. Bathed in an eerie light, the painting is probably set in the Borre Forest, a traditional place of courtship during Norway’s long midsummer nights. Inscriptions: Lower left: E. Munch 1893 Provenance: Sold by the artist to Professor Helge Bäckström (b. 1865 - d. 1932) and his wife Rägnhild Bäckström (b. 1871 - d. 1908), Stockholm, Sweden [see note 1]. 1924, with Galerie Commeter, Hamburg [see note 2]. 1926, Paul Cassirer, Berlin [see note 3]. Between about 1927 and 1937, with the Moderne Galerie Thannhauser, Berlin [see note 4]. 1937, acquired by Harald Holst Halvorsen (d. 1960), Oslo, Norway [see note 5]; 1959, sold by Halvorsen to the MFA for $35,000. (Accession Date: May 14, 1959) NOTES: [1] In the MFA curatorial file are photographs of the painting hanging in the Bäckströms' home. The couple knew the artist personally; Mrs. Bäckström was the sister of Munch's model, Dagny Juell Przybyszewski, and she herself posed for Munch twice. [2] According to Gerd Woll, Edvard Munch: Complete Paintings, Catalogue Raisonné (London, 2009), vol. 1, cat. no. 319, the painting was included in an exhibition held October 9-21, 1924, at the Galerie Commeter. [3] Lent to the exhibition "Edvard Munch: Gemälde und Graphik," Städtische Kunsthalle, Mannheim, November 7, 1926-January 9, 1927, cat. no. 5, as "Mondschein am Fjord." Many thanks to Hannah Krause of the Kunsthalle, Mannheim (correspondence to the MFA, May 18, 2010) for providing information about this exhibition. [4] According to the exhibition catalogue "Edward Munch" (New York: The Solomon R. Guggenheim Museum, 1965), cat. no. 19, the painting was with the Galerie Thannhauser, Berlin, before it was owned by Halvorsen, though no dates of ownership are given. The gallery opened its Berlin branch in 1927 and closed it in 1937, so if the painting was at the gallery, it would have been there within that decade. [5] According to a letter from Mr. Halvorsen to the MFA (April 4, 1959). He does not specify from whom he acquired it. Text from: collections.mfa.org/objects/33634/summer-nights-dream-the-voice

Summer Night's Dream (The Voice) Edvard Munch (Norwegian, 1863–1944) 1893 Medium/Technique: Oil on canvas Dimensions: 87.9 x 108 cm (34 5/8 x 42 1/2 in.) Credit Line: Ernest Wadsworth Longfellow Fund Accession Number: 59.301 Collections: Europe Classifications: Paintings Munch was strongly influenced by the work of Vincent van Gogh and Paul Gauguin, in particular their use of color and form to evocative, expressive ends. In the late 1880s, Munch conceived an epic series of paintings entitled “The Frieze of Life,” which dealt poetically and symbolically with life, love, and death. Many of his most memorable images were part of this ultimately unfinished project. “Summer Night’s Dream,” the first work in the cycle of Love, portrays the initial glimmer of adolescent sexual awakening. Bathed in an eerie light, the painting is probably set in the Borre Forest, a traditional place of courtship during Norway’s long midsummer nights. Inscriptions: Lower left: E. Munch 1893 Provenance: Sold by the artist to Professor Helge Bäckström (b. 1865 - d. 1932) and his wife Rägnhild Bäckström (b. 1871 - d. 1908), Stockholm, Sweden [see note 1]. 1924, with Galerie Commeter, Hamburg [see note 2]. 1926, Paul Cassirer, Berlin [see note 3]. Between about 1927 and 1937, with the Moderne Galerie Thannhauser, Berlin [see note 4]. 1937, acquired by Harald Holst Halvorsen (d. 1960), Oslo, Norway [see note 5]; 1959, sold by Halvorsen to the MFA for $35,000. (Accession Date: May 14, 1959) NOTES: [1] In the MFA curatorial file are photographs of the painting hanging in the Bäckströms' home. The couple knew the artist personally; Mrs. Bäckström was the sister of Munch's model, Dagny Juell Przybyszewski, and she herself posed for Munch twice. [2] According to Gerd Woll, Edvard Munch: Complete Paintings, Catalogue Raisonné (London, 2009), vol. 1, cat. no. 319, the painting was included in an exhibition held October 9-21, 1924, at the Galerie Commeter. [3] Lent to the exhibition "Edvard Munch: Gemälde und Graphik," Städtische Kunsthalle, Mannheim, November 7, 1926-January 9, 1927, cat. no. 5, as "Mondschein am Fjord." Many thanks to Hannah Krause of the Kunsthalle, Mannheim (correspondence to the MFA, May 18, 2010) for providing information about this exhibition. [4] According to the exhibition catalogue "Edward Munch" (New York: The Solomon R. Guggenheim Museum, 1965), cat. no. 19, the painting was with the Galerie Thannhauser, Berlin, before it was owned by Halvorsen, though no dates of ownership are given. The gallery opened its Berlin branch in 1927 and closed it in 1937, so if the painting was at the gallery, it would have been there within that decade. [5] According to a letter from Mr. Halvorsen to the MFA (April 4, 1959). He does not specify from whom he acquired it. Text from: collections.mfa.org/objects/33634/summer-nights-dream-the-voice

Cypress in Moonlight by Edvard Munch, 1892 oil on canvas On loan from a Private Collection # L.2011.3 Text from the Metropolitan Museum of Art label.

Cypress in Moonlight by Edvard Munch, 1892 oil on canvas On loan from a Private Collection # L.2011.3 Text from the Metropolitan Museum of Art label.

Edvard Munch. (Norwegian, 1863-1944). The Storm. 1893. Oil on canvas, 36 1/8 x 51 1/2" (91.8 x 130.8 cm). Gift of Mr. and Mrs. H. Irgens Larsen and acquired through the Lillie P. Bliss and Abby Aldrich Rockefeller Funds. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 44 Munch painted The Storm in Aasgaardstrand, a small Norwegian seaside resort where he often stayed. There had indeed been a violent storm there that summer, but the painting does not appear to show it, or even its physical aftermath; the storm here is an inner one, a psychic distress. Standing near the water, in an eerie blue half-light, half-dark Scandi-navian summer night, a young woman clasps her hands to her head. Other women, standing apart from her, make the same anguished gesture—to what end we are not sure. The circle in which they stand, and the protagonist's white dress, give to the scene the feeling of some ancient pagan ritual, even while the solid house in the background, its lit windows shining in the dark, suggests some more regular life from which these women are excluded—or perhaps that they find intolerable. Munch's art suggests a transformation of personal memories and emotions into a realm of dream, myth, and enigma. His exposure to French Symbolist poetry during a stay in Paris had convinced him of the necessity for a more subjective art; there was no need, he said, for more paintings of "people who read and women who knit." Associated with the international development of Symbolism in the 1890s, he is also recognized as a precursor of Expressionism. Text from: www.moma.org/collection/browse_results.php?object_id=80644

Edvard Munch. (Norwegian, 1863-1944). The Storm. 1893. Oil on canvas, 36 1/8 x 51 1/2" (91.8 x 130.8 cm). Gift of Mr. and Mrs. H. Irgens Larsen and acquired through the Lillie P. Bliss and Abby Aldrich Rockefeller Funds. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 44 Munch painted The Storm in Aasgaardstrand, a small Norwegian seaside resort where he often stayed. There had indeed been a violent storm there that summer, but the painting does not appear to show it, or even its physical aftermath; the storm here is an inner one, a psychic distress. Standing near the water, in an eerie blue half-light, half-dark Scandi-navian summer night, a young woman clasps her hands to her head. Other women, standing apart from her, make the same anguished gesture—to what end we are not sure. The circle in which they stand, and the protagonist's white dress, give to the scene the feeling of some ancient pagan ritual, even while the solid house in the background, its lit windows shining in the dark, suggests some more regular life from which these women are excluded—or perhaps that they find intolerable. Munch's art suggests a transformation of personal memories and emotions into a realm of dream, myth, and enigma. His exposure to French Symbolist poetry during a stay in Paris had convinced him of the necessity for a more subjective art; there was no need, he said, for more paintings of "people who read and women who knit." Associated with the international development of Symbolism in the 1890s, he is also recognized as a precursor of Expressionism. Text from: www.moma.org/collection/browse_results.php?object_id=80644

Edvard Munch. (Norwegian, 1863-1944). The Storm. 1893. Oil on canvas, 36 1/8 x 51 1/2" (91.8 x 130.8 cm). Gift of Mr. and Mrs. H. Irgens Larsen and acquired through the Lillie P. Bliss and Abby Aldrich Rockefeller Funds. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 44 Munch painted The Storm in Aasgaardstrand, a small Norwegian seaside resort where he often stayed. There had indeed been a violent storm there that summer, but the painting does not appear to show it, or even its physical aftermath; the storm here is an inner one, a psychic distress. Standing near the water, in an eerie blue half-light, half-dark Scandi-navian summer night, a young woman clasps her hands to her head. Other women, standing apart from her, make the same anguished gesture—to what end we are not sure. The circle in which they stand, and the protagonist's white dress, give to the scene the feeling of some ancient pagan ritual, even while the solid house in the background, its lit windows shining in the dark, suggests some more regular life from which these women are excluded—or perhaps that they find intolerable. Munch's art suggests a transformation of personal memories and emotions into a realm of dream, myth, and enigma. His exposure to French Symbolist poetry during a stay in Paris had convinced him of the necessity for a more subjective art; there was no need, he said, for more paintings of "people who read and women who knit." Associated with the international development of Symbolism in the 1890s, he is also recognized as a precursor of Expressionism. Text from: www.moma.org/collection/browse_results.php?object_id=80644

Edvard Munch. (Norwegian, 1863-1944). The Storm. 1893. Oil on canvas, 36 1/8 x 51 1/2" (91.8 x 130.8 cm). Gift of Mr. and Mrs. H. Irgens Larsen and acquired through the Lillie P. Bliss and Abby Aldrich Rockefeller Funds. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 44 Munch painted The Storm in Aasgaardstrand, a small Norwegian seaside resort where he often stayed. There had indeed been a violent storm there that summer, but the painting does not appear to show it, or even its physical aftermath; the storm here is an inner one, a psychic distress. Standing near the water, in an eerie blue half-light, half-dark Scandi-navian summer night, a young woman clasps her hands to her head. Other women, standing apart from her, make the same anguished gesture—to what end we are not sure. The circle in which they stand, and the protagonist's white dress, give to the scene the feeling of some ancient pagan ritual, even while the solid house in the background, its lit windows shining in the dark, suggests some more regular life from which these women are excluded—or perhaps that they find intolerable. Munch's art suggests a transformation of personal memories and emotions into a realm of dream, myth, and enigma. His exposure to French Symbolist poetry during a stay in Paris had convinced him of the necessity for a more subjective art; there was no need, he said, for more paintings of "people who read and women who knit." Associated with the international development of Symbolism in the 1890s, he is also recognized as a precursor of Expressionism. Text from: www.moma.org/collection/browse_results.php?object_id=80644