Edvard Munch
Norwegian, 1863 – 1944
拉爱德华·蒙克是挪威表现主义先驱。其代表作《呐喊》已成为世界艺术史上最具标志性的绘画之一。
他的一生始终笼罩在童年阴影之下——病痛缠身、至亲相继离世、对家族遗传精神疾病的恐惧如影随形。在克里斯蒂安尼亚（今奥斯陆）皇家艺术与设计学院求学期间，蒙克受虚无主义者汉斯·耶格尔影响开始波西米亚式生活，这位精神导师鼓励他描绘自身情感与心理状态（”灵魂绘画”），由此催生出极具个人特色的艺术风格。
Dr. Linde’s Sons (1903)
游历生涯为他开启新视野。在巴黎，他从高更、梵高与劳特累克处领悟色彩运用的奥秘；在柏林，他与瑞典戏剧家斯特林堡相识并为其绘制肖像，同时开启毕生重要组画《生命之饰带》的创作。这套饱含情感的系列作品以浓郁的氛围感，深刻诠释爱情、焦虑、嫉妒与背叛等生命主题。
Self-Portrait (1940–1943)
《呐喊》诞生于克里斯蒂安尼亚的黄昏。蒙克自述当时”听见大自然震彻寰宇的呐喊”，画中扭曲的面容被公认为现代人精神焦虑的永恒象征。1893至1910年间，他创作了两幅油画版本、两幅粉彩版本及若干版画，其中一幅粉彩版后来以全球艺术品拍卖史上第四高价成交。
虽声名日隆，蒙克始终未能获得内心平静。他一度考虑婚姻却终难承诺。1908年精神崩溃后戒除酗酒恶习，逐渐获得故乡民众认可与美术馆展览邀约，这为他带来些许慰藉。晚年他在宁静隐居中进行创作，尽管作品遭纳粹德国查禁，多数仍幸免于战火，为后世留下不朽艺术遗产。
艺术家 Vincent van Gogh
works
On the Bridge (1903)
Sommernatt (Summer Night) (1917)
Morgen På Promenade Des Anglais (Morning On The Promenade Des Anglais) (1891)
Klestørk I Åsgårdstrand (Clothes On A Line In Åsgårdstrand) (1902)
Tingletangle (1895)
Model in the Garden (1930)
Horse Team and a St. Bernhard in the Snow (1923)
Sunrise In The Harbour (1893–94)
aarbæk Harbour (1905)
In the Tavern (1890)
Kvinner høster frukt (ca 1920)
Mann og kvinne (1912-1915)
Garden With Red House (1882)
Friedrich Nietzsche (1906)
Man in the Cabbage Field (1916)
Mother and Daughter (1897 – 1899)
Melancholy (1892)
Midsummer (1915)
The Girls on the Bridge (1901)
The Day After (1894)
Spring (1889)
The Fairytale Forest (1901)
Sittende Ung Kvinne (Seated Young Woman) (1916)
The Women on the Bridge (1934–40)
The Artist and his Model (1919–21)
Summer Night. Mermaid (1893)
Puberty (1914–16)
The Day After (1894)
Beneath the Red Apples (1927–30)
Kragerø Om Våren (Kragerø In Spring) (1929)
Såmannen (The Sower) (1913)
Klestørk I Åsgårdstrand (Clothes On A Line In Åsgårdstrand) (1902)
Bathing Young Men (1904)
Flirting in the Park (1942)
Elm Forest in Spring (ca. 1923)
Two Women in the Garden (1919)
House with Red Virginia Creeper (1900)
White Night (1900-1901)
Winter (1899)
From Vestre Aker (1881)
绘画天才· Painting genius
野兽派先驱· Pioneer of Fauvism
Edvard Munch was a Norwegian painter. His best known work, The Scream, has become one of the iconic images of world art.
His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the 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 (‘soul painting’). From this emerged his distinctive style.
Travel brought new influences and outlets. In Paris, he learned much from Paul Gauguin, Vincent van Gogh and Henri de Toulouse-Lautrec, especially their use of colour. In Berlin, he met the Swedish dramatist August Strindberg, whom he painted, as he embarked on his major canon The Frieze of Life, depicting a series of deeply-felt themes such as love, anxiety, jealousy and betrayal, steeped in atmosphere.
The Scream was conceived in Kristiania. According to Munch, he was out walking at sunset, when he ‘heard the enormous, infinite scream of nature’. The painting’s agonised face is widely identified with the angst of the modern person. Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would eventually command the fourth highest nominal price paid for a painting at auction.
As his fame and wealth grew, his emotional state remained insecure. He briefly considered marriage, but could not commit himself. A breakdown in 1908 forced him to give up heavy drinking, and he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city’s museums. His later years were spent working in peace and privacy.
Madonna (1894)
Karl Jensen-Hjell (1885)
Ashes (1895)
The Sick Girl (1896)
The Vampire (1893)
Kneeling Nude (1910s)
Kiss on the Beach (1921)
Hjemvendende arbejdere (1914)