‘Edvard Munch: Between the Clock and the Bed’
“The artist who appears in the Met Breuer’s exhibition ‘Edvard Munch: Between the Clock and the Bed’ is a more familiar figure than the Munch revealed in Oslo by Knausgård’s ‘Towards the Forest,'” writes Ingrid Rowland. “Rather than the colors of the open air, we have confined interiors bursting out in rebellious shades of yellow, orange, and red (although these intense shades are traditional for Norwegian houses), and the selection of fifty-one paintings puts all the artist’s early angst in full view. Many of these images are well-known landmarks in Munch’s career, from the delicate pastel blues and variegated whites of Morning (1884), one of the first paintings he ever exhibited in public, to The Sick Child (1896), his first great success, to his early Self-Portrait with Cigarette (1895), with its vapor-thin paint and its abraded surfaces, to the seductive black-haired siren he called, with bitter irony, Madonna (1894).”
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