Synopses & Reviews
Two potent myths have traditionally defined our understanding of the artist Edvard Munch (1862and#150;1944): he was mentally unstable, as his iconic work The Scream (1893) suggests, and he was radically independent, following his own singular vision. Becoming Edvard Munch: Influence, Anxiety, and Myth persuasively challenges these entrenched perceptions.
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In this book, Jay A. Clarke demonstrates that Munch was thoroughly in control of his artistic identity, a savvy businessman skilled in responding to the market and shaping popular opinion. Moreover, the author shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munchand#8217;s paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munchand#8217;s diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal.
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Becoming Edvard Munch features beautiful color reproductions of approximately 150 works, including 75 paintings and 75 works on paper by Munch and his peers.
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Review
". . . a hand-held gallery, as beautifully designed as it is written."--
Print QuarterlyReview
". . . makes a convincing case that Munch is indeed misperceived."--
Failure MagazineReview
Runner-up for the award for Outstanding Exhibition Catalogue, given by the Association of Art Museum Curators
Synopsis
Two potent myths have traditionally defined our understanding of the artist Edvard Munch (1862-1944): he was mentally unstable, as his iconic work
The Scream (1893) suggests, and he was radically independent, following his own singular vision.
Becoming Edvard Munch: Influence, Anxiety, and Myth persuasively challenges these entrenched perceptions.
In this book, Jay A. Clarke demonstrates that Munch was thoroughly in control of his artistic identity, a savvy businessman skilled in responding to the market and shaping popular opinion. Moreover, the author shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munch's paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munch's diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal.
Becoming Edvard Munch features beautiful color reproductions of approximately 150 works, including 75 paintings and 75 works on paper by Munch and his peers.
Synopsis
This group of British prints from an exceptional private collection captures the tumultuous aesthetic and political climate of the years surrounding World Wars I and II.
Synopsis
This group of 40 prints from the exceptional Daniel Cowin Collection captures the tumultuous aesthetic and political climate of the years surrounding World Wars I and II. An essay by Jonathan Black addresses the impact of World War I on two notable British printmakers, Edward Wadsworth and C. R. W. Nevinson. A text by Jay A. Clarke delves into the linocut movement of the 1920s and andrsquo;30s, investigating how the role of style and politics impacted this movement as well as the previously unexplored position of women printmakers and the interplay between gender, craft, and decoration. Influences of Futurism, Cubism, and the short-lived but vibrant abstraction of the Vorticist movement saturate the powerful color images, which are accompanied by artist biographies. This publication illuminates the struggle of these radical printmakers as they navigated a conservative market and the harsh economic and political realities of their time.
About the Author
Jay A. Clarke is the Manton Curator of Prints, Drawings, and Photographs at the Clark Art Institute.and#160;Jonathan Black is a senior research fellow in the history of art at Kingston University in London.and#160;