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Artist with golfer
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Mountain Lake
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Mountain Lake - Value adjusted
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Woman in chair
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Woman in chair - Value adjusted
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Introducing Norway's newest artistic bombshell since Edvard Munch, Torstein Bøhler, direct from
Oslo.
Torstein and Gordon Pefley shared an office
at The Reactor Centrum Nederland, in Petten North Holland from 1963- 1965.
The
Scream, 1893 Tempera and pastel on board. 91 x 73.5 cm.
Signed lower left: E. Munch 1893 Presented in 1910
by Olaf Schou NG.M.00939
Edvard Munch's most famous work has gained enormously
in popularity, especially since World War II. Perhaps the existential fear
here rendered by the artist has become more widespread in recent decades?
In the foreground, on a road with a railing along it,
we see a figure: his hands raised to his head, eyes staring, mouth gaping.
Further back are two gentlemen in top hats, and behind them a landscape of
fjord and hills. The first time Munch described the experience which gave
rise to this painting was in Nice, writing in his literary diary. The entry
for 22 January 1892 reads:
"I was walking along the road
with two friends.
The sun was setting.
I felt a breath of melancholy -
Suddenly the sky turned blood-red.
I stopped, and leaned against the railing, deathly tired -
looking out across the flaming clouds that hung like blood and a
sword
over the blue-black fjord and town.
My friends walked on - I stood there, trembling with fear.
And I sensed a great, infinite scream pass through nature."
When art historians call Munch, together with artists like Van Gogh,
"the founder of Expressionism", it is because of a picture such as
The Scream. The work depicts not so much an incident or a landscape as a
state of mind. The drama is an inner one, and yet the subject is firmly
anchored in the topography of Oslo - the view is from Nordstrand towards the
two bays at the head of the Oslofjord, with Holmenkollen in the background.
The evening landscape has been distilled into an abstract rhythm of wavy
lines. The road with its railing, leading diagonally inwards, creates a
powerful pull of perspective in the composition, and intensifies the
disquieting atmosphere in the picture.
Several sketches and preparatory studies
for this painting survive. The motif also features in Munch's graphic works.
Armed Robbers
Steal Munch's 'The Scream' in Oslo
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