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  • Edvard Munch
    Dec 12, 1863 - Jan 23, 1944
  • Dance on the Beach - Edvard Munch was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionistic art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholia. His work often included the symbolic portrayal of such themes as misery, sickness, and death.
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Dance on the Beach
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  • Dance on the Beach

  • Edvard Munch
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  • 1900-1902
    Oil on canvas
    99 x 96 cm
    Narodni Galerie, Prague, Czech Republic.

    This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream. Both were destined to recur with considerable fidelity in Anxiety and in other works of the same period.

    Norwegian angst, like its German counterpart, had become the key term not only for Munch's central pictorial content but for the entire tradition that is traced to Kierkegaard's and Nietzsche's philosophies, Strindberg's and Ibsen's plays, and the North European modern aesthetic contribution in general. In Anxiety Munch repeats closely many elements of The Scream. The same jetty that accommodated a single alienated personage appears again, as do the lake in the distance, the two boats, the church, and other structures that line the shore just a little less dimly than before. The are all quoted from the earlier work, as are the gloomy hues and the intense swirls of concentrically enlarging lines that define and ultimately embrace land, sea, and sky.

    If, however, The Scream deals with the horror experienced in total isolation by a single being, Anxiety plays upon collective despair. the sentiment of angst in this work is even more sustained, if less piercing, than in The Scream, since its desperation is here borne by a group rather than by an isolated individual.

    Munch returned to Anxiety two years later to restate the same motif through the print mediums. This time he added the woodcut to the lithograph and allowed the white features rendered visible in the subtractive method to stand against the expressive ground of a red-colored paper. As has been observed in the The Scream, the limitations inherent in the graphic technique - its reduction of the linear property and the elimination of the descriptive color in the woodcut - emphasize the abstract conception and heighten the emotive forcefulness of the pictorial content. The few but significant modifications and character substitutions that the artist felt compelled to undertake in the transformations from painting to prints, as well as the subtle differences between woodcuts and lithographs, provide valuable insights into Munch's creative reaction.

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Other paintings by Edvard Munch:

Four Women in the Garden
Four Women in the Garden
The Scream 1893
The Scream 1893
Building Workers in the Studio
Building Workers in the Studio
Carpenters in the Studio
Carpenters in the Studio
Edvard Munch1863-1944. The Norwegian artist Edvard Munch is regarded as a pioneer in the Expressionist movement in modern painting. At an early stage Munch was recognized in Germany and central Europe as one of the creators of a new epoch. His star is still on the ascendant in the other European countries, and in the rest of the world. Munch's art from the 1890s is the most well known, but his later work is steadily attracting greater attention, and it appears to inspire present-day artists in particular. Often called the father of Expressionism, the Norwegian painter suffered as a child with illness, loss, and psychological terror, emotions that characterize many early images. He chose painting as his life's work at a young age and traveled throughout Europe, especially to Paris, where he absorbed the influences of Impressionism, then Post-Impressionism, and Art Nouveau design. While in Berlin, he joined a circle of writers and artists that included playwrights Henrik Ibsen and August Strindberg, who became friends and collaborators. Just as his Scandinavian colleagues, Munch unflinchingly brought the darker side of the human experience to his art.