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Edvard Munch [1863-1944] Norwegian
Rank: 101
Artist (with paintings), Painter
Expressionism, Symbolism


Edvard Munch was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century.

Death, Good, Nature, Women, Work



QuoteTagsRank
A person himself believes that all the other portraits are good likenesses except the one of himself. Good
101
From my rotting body, flowers shall grow and I am in them and that is eternity. Death
102
Without anxiety and illness I should have been like a ship without a rudder.
103
Some colors reconcile themselves to one another, others just clash.
104
Death is pitch-dark, but colors are light. To be a painter, one must work with rays of light. Death, Work
105
To die is as if one's eyes had been put out and one cannot see anything any more. Perhaps it is like being shut in a cellar. One is abandoned by all. They have slammed the door and are gone. One does not see anything and notices only the damp smell of putrefaction.
106
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
107
I learned early about the misery and dangers of life, and about the afterlife, about the external punishment which awaited the children of sin in Hell.
108
Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life. Death
109
No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love. Women
110
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul. Nature
111
The colors live a remarkable life of their own after they have been applied to the canvas.
112
Youth must go ahead and prosper. These young painters are all very talented people, but they all paint frescoes.
113
I find it difficult to imagine an afterlife, such as Christians, or at any rate many religious people, conceive it, believing that the conversations with relatives and friends interrupted here on earth will be continued in the hereafter.
114
Disease, insanity, and death were the angels that attended my cradle, and since then have followed me throughout my life. Death
115
For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art.
116
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
117
I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available.
118
I have no fear of photography as long as it cannot be used in heaven and in hell.
119
I build a kind of wall between myself and t he model so that I can paint in peace behind it. Otherwise, she might say something that confuses and distracts me.
120
One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.
121
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
122
I painted the picture, and in the colors the rhythm of the music quivers. I painted the colors I saw.
123
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
124
When I paint a person, his enemies always find the portrait a good likeness.
125
The rich man who gives, steals twice over. First he steals the money and then the hearts of men.
126
The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose.
201
In my childhood I always felt that I was treated unjustly, without a mother, sick, and with the threat of punishment in Hell hanging over my head.
202
Oil-painting is a developed technique. Why go backwards?
203
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
204

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