IN BERLIN, MUNCH BECAME involved in an international circle of writers, artists and critics, including the Swedish dramatist and leading intellectual August Strindberg, whom he painted in 1892. During his four years in Berlin, Munch sketched out most of the ideas that would comprise his major work, The Frieze of Life, first designed for book illustration but later expressed in paintings. He sold little, but made some income from charging entrance fees to view his controversial paintings. Already, Munch was showing a reluctance to part with his paintings, which he termed his “children”.
His other paintings, including casino scenes, show a simplification of form and detail which marked his early mature style. Munch also began to favor a shallow pictorial space and a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions, as in Ashes, the figures impart a monumental, static quality. Munch’s figures appear to play roles on a theatre stage (“Death in the Sick-Room”), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in “The Scream”, Munch’s men and women began to appear more symbolic than realistic. He wrote, “No longer should interiors be painted, people reading and women knitting: there would be living people, breathing and feeling, suffering and loving.”
How to embed LucasFonts’ webfonts
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