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By Thomas M. Messer

Lengthy ahead of the 1st theories of psychoanalysis have been formulated, Edvard Munch (1863-1944) turned the pioneer of an artwork which stumbled on and depicted the internal conflicts of contemporary man.
The initiator of the stream often called Expressionism, Munch's paintings was once greeted with indignation and incomprehension. yet via 1902 he had accomplished acceptance in creative circles at the Continent and was once thought of a pacesetter of the recent art.

In an introductory essay & in commentaries that accompany the 40 colorplates within the publication, Thomas M. Messer, Director of the Solomon R. Guggenheim starting place in ny, strains Munch's progress as an artist, putting him within the context of his occasions. He introduces the reader to the kin scenes & general areas that hang-out Munch's artwork, & to the broader relationships-with writers, poets & consumers that nurtured Munch & sustained him in tricky instances.

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Queaths 1929 German occupation laborators. Continues painting and printmaking. galleriet, Oslo. 1928 Lives quietly during refusing any contact with Nazi invaders and their col- at the Nasjonal- all of his 6 sculptures. work to the city of Oslo: 1,008 paint- drawings and watercolors, and The Munch-museet is opened in 1963. SELECTED BIBLIOGRAPHY BOOKS Heller, Reinhold A. D. dissertation, BENESCH, Otto. EJvard Munch. Translated by Joan Spencer. London: Phaidon, i960. German edition, Cologne: Phaidon Verlag, i960.

English edition, Age and Milieu. Oslo: Edvard Munch: Kvinnenog eros. Oslo: Forlaget Norsk Kunstreproduksjon, 1957. English edition, Woman and Eros. Cassirer, 1917. jeg Matte. Oslo: Forlaget Norsk Kunstreproduksjon, 1957. Oslo: . Gyldendal Norsk Forlag, 1956. Edvard Munch: Landskap og dyr. Et Bildwerk. Oslo: For- Norsk Kunstreproduksjon, 1958. English edition, Nature and Animals. Oslo: Forlaget Norsk Kunstreproduk- laget Greve, Eli. Edvard Munch: Liv og verk W. Cappelens Forlag, 1963. J. i lys av tresnittene.

Withdrawal, vignette. 1902. 2x3%". (Sch. 153/F) Etching and aquatint, 38 his many most securely rest well-preserved masterpieces in the graphic mediums. to care less for by no means borne out by the available evidence Munch's attitude toward his paintings was far from protective. Munch's ultimate fame may upon with the the merely fragmentary existence of individual pictures. Convinced that he could always replace that To admit the problematic nature ot legacy not to doubt his greatness. i^ Munch's It creative was, let us repeat, a major achievement to revitalize sterile allegories about lite and death and images that coincided with to rind svmbols and awareness a timely ot the psychic dimension of man.

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