19th century
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B01=Stefanie Heckmann
B01=Thomas Köhler
Berlin
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Symbolism
Product details
- ISBN 9783777442181
- Weight: 1420g
- Dimensions: 217 x 280mm
- Publication Date: 28 Dec 2023
- Publisher: Hirmer Verlag
- Publication City/Country: DE
- Product Form: Hardback
- Language: English
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Munch’s pictorial worlds – the initial impetus for modernism
Edvard Munch’s radical modernity in painting was a challenge for his contemporaries. This applied in particular to the art scene in Berlin around 1900 which the Norwegian Symbolist artist influenced profoundly. In return, he received support there and was able to continue to develop his work. The publication is lavishly illustrated and describes knowledgeably the story of Munch and Berlin.
In 1892 the Association of Berlin Artists invited the still-unknown Edvard Munch (1863–1944) to an exhibition. The public was shocked by the colourful, sketch-like pictures. The artist enjoyed the furore and moved to the city on the Spree, where he repeatedly sojourned until 1908. Here he learned the techniques for printed graphics and presented for the first time paintings in several continuous series which would become central to his oeuvre. In Berlin, before long, the concept of the “Magic of the North” (Stefan Zweig) was no longer associated with romantic or naturalistic fjord landscapes, but with Munch’s psychologically concentrated pictorial worlds.
Edvard Munch’s radical modernity in painting was a challenge for his contemporaries. This applied in particular to the art scene in Berlin around 1900 which the Norwegian Symbolist artist influenced profoundly. In return, he received support there and was able to continue to develop his work. The publication is lavishly illustrated and describes knowledgeably the story of Munch and Berlin.
In 1892 the Association of Berlin Artists invited the still-unknown Edvard Munch (1863–1944) to an exhibition. The public was shocked by the colourful, sketch-like pictures. The artist enjoyed the furore and moved to the city on the Spree, where he repeatedly sojourned until 1908. Here he learned the techniques for printed graphics and presented for the first time paintings in several continuous series which would become central to his oeuvre. In Berlin, before long, the concept of the “Magic of the North” (Stefan Zweig) was no longer associated with romantic or naturalistic fjord landscapes, but with Munch’s psychologically concentrated pictorial worlds.
Thomas Köhler has been the director of the Berlinische Galerie, the State Museum of Modern Art, Photography and Architecture in Berlin since 2010.
Stefanie Heckmann has been the head of the fine art collection at the Berlinische Galerie since 2014 and is the curator of the exhibition.
Stefanie Heckmann has been the head of the fine art collection at the Berlinische Galerie since 2014 and is the curator of the exhibition.
