By Alma Luise
A very significant
exhibition of work by Edvard Munch is being held at Konstakademien,
here in Stockholm. In addition to many of the old favorites by
this Norwegian artist appear several canvases from his own studio
home, Ekeby, in Oslo. There was one period when he was the painter
of death as something familiar and friendly, indeed of death as
lifes own familiar. In this collection we detect striking
exuberance and rhythm in majestic forest trees, in the
surf, in the pounding of horses feet. All his years as an
artist he has been thinking in terms of a "Life Frieze"
and, curiously, as he has grown older he has turned from themes
of sickness and death to the very radiance of existence, accentuated
by superb blue-green effects and by some exhilarating subjective
qualities that profoundly moves the onlooker.
Edvard Munch himself is so much the hermit and recluse, so indifferent
to his public, that perhaps American initiative is needed just
now to claim this exhibition for New York before it is sent back
to museums, to Ekeby and to the many private collectors. Taken
together with his other work that is not here represented, it
becomes the sort of showing that is a landmark in modern art history.
New York Times. Apr. 18, 1937.
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