29 April 2015
For the first half of his life, Munch was obsessed by the tragedy of existence and of destiny. In his seventies he said,"I have always walked along an abyss " despite a measure of tranquillity and self-detachment long since acquired.
It seem he has spent his life on a tragedy and also it seem that this tragedy is materialized in Oslo, in fact, as in the Scream, as the background of the painting Anxiety, there is the Oslo fjord .
He felt that life itself was fearful. The powerless individual is absorbed and carried along by the rhythm of natural forces. He may conceal his fear, but the sky and landscape vibrate with his secret Anxiety.
These lines of vibration were suggested to Munch by the abstract linearity of art nouveau, which he encountered in Paris in 1896 and 1897. Yet Munch never used line, form, or color as decoration. Each had to be a symbol for the expression of his inner vision.
Munch seems unable, or perhaps unwilling, to solve the dilemma of existence (ignoring the influence of Victorian poetry of his time), but accepts relalistically his fears and documenting it through his paintings.
It seem he has spent his life on a tragedy and also it seem that this tragedy is materialized in Oslo, in fact, as in the Scream, as the background of the painting Anxiety, there is the Oslo fjord .
He felt that life itself was fearful. The powerless individual is absorbed and carried along by the rhythm of natural forces. He may conceal his fear, but the sky and landscape vibrate with his secret Anxiety.
These lines of vibration were suggested to Munch by the abstract linearity of art nouveau, which he encountered in Paris in 1896 and 1897. Yet Munch never used line, form, or color as decoration. Each had to be a symbol for the expression of his inner vision.
Munch seems unable, or perhaps unwilling, to solve the dilemma of existence (ignoring the influence of Victorian poetry of his time), but accepts relalistically his fears and documenting it through his paintings.
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