Edvard Munch: A Portrait of the Artist Beyond The Scream
Regarded as one of the most iconic expressions of existential agony in Western art, Edvard Munch’s The Scream captures not just a moment of despair but serves as a profound insight into the depths of the artist’s psyche. It is easy to pigeonhole Munch as a tortured soul, plagued by alcoholism and depression, a stereotype that starkly contrasts with the disciplined professionalism of a conventional portrait artist. This perception is exactly why the National Portrait Gallery’s inaugural exhibition of Munch’s work, which also marks the first showcase of his portraits in the UK, is groundbreaking.
This well-curated exhibition, featuring 45 paintings and prints—many of which have never been displayed in the UK—offers a fresh, nuanced perspective on Munch’s character and artistic sophistication. Among the standout pieces is the portrait of his friend Thor Lütken from 1892, previously thought to be lost. This intriguing work cleverly incorporates a hidden landscape scene on Lütken’s sleeve, adding layers of meaning to the composition.
The exhibition begins with naturalistic family portraits and follows a chronological journey through Munch’s formative years, from the decadent artistic explorations of Paris and Berlin at the turn of the century to the post-World War I period when he purchased Ekely, a serene country estate on the outskirts of Kristiania (now Oslo), where he resided until his passing in 1944. In his later large-scale portraits of an illustrious circle of friends and patrons, we encounter an artist bursting with confidence and creativity, whose vibrant and experimental style challenges the conventional narrative of a morose, introverted depressive.
For those who come seeking the melancholic themes for which Munch is celebrated, there is no need for concern—fragments of despondency remain close at hand. Even after his transformative recovery following a prolonged stay in a celebrity nerve clinic around 1908, where he adopted a teetotal and vegetarian lifestyle, traces of his earlier struggles are ever-present.
Mortality and Memory: Munch’s Exploration of Life and Death
Mortality looms large in Munch’s oeuvre. His 1886 painting of his younger brother Andreas, a medical student engrossed in the dissection of a human skull, marks an early exploration of this theme. This motif recurs with dark humor in works like Self-Portrait with Skeleton Arm (1895) and later in the 1920s when Munch daringly depicts himself as a cadaver on an autopsy table, his lifeless body yielding to the scalpel of his friend, Professor Schreiner.
Munch’s personal history, marked by the deaths of his mother and sister Sophie from tuberculosis, his sister Laura’s lifelong mental health struggles, and his own frail constitution, is steeped in unresolved trauma, compounded by his father’s strict religious fervor. A small yet poignant portrait of his father conveys a certain affection, while a stark portrayal of his sister Laura in Evening (1888) reveals her profound isolation within her suffering.
In a clever juxtaposition, the exhibition emphasizes the contrast between Munch’s joyless domestic life and the vibrant allure of the local bohemian circles—artists and writers who brought back avant-garde ideas from France and Germany, looking directly into the viewer’s gaze, a stark contrast to the distant expressions of his family.
- Munch viewed his father, Hans Jaeger, a provocative anti-Christian novelist, as “the devil incarnate,” showcasing the complex allure of his father’s dangerous charisma.
- The painter Karl Jensen-Hjell (1885) epitomizes the tumultuous yet fascinating interior world of sex, alcohol, and disease that inspired some of Munch’s most disturbing and celebrated works.
While Munch’s fraught relationships with women are not a primary focus of this exhibition, his lithograph The Brooch (1902), depicting the violinist Eva Mudocci, reflects the complexities of his romantic entanglements, casting her in a dual role of seductress and muse, further illuminating his psychological struggles.
The exhibition also highlights several significant portraits of women among the wealthy patrons Munch encountered during his European travels, many of whom were fervent followers of Nietzschean philosophy. Among these is a curious 1906 portrait of Nietzsche’s sister, a work Munch cherished enough to keep for himself, showcasing his admiration for Van Gogh through its vivid colors and compelling aura.
Another notable piece is Munch’s double portrait of collectors Käthe and Hugo Perls (1913). Initially visiting Munch to purchase prints, they became subjects of an unflattering yet revealing portrayal that starkly illustrates their strained marriage. The physical barrier created by the wall K äthe leans against, coupled with their lack of eye contact, encapsulates their profound emotional distance.
Revealing the Complexity of Munch’s Portraits
For some within Munch’s intimate circle, he fostered an environment where unflattering portrayals became part of the creative process. Known for his animated conversations, he often employed humor to elicit candid expressions from his subjects. His portrait of fellow painter Ludvig Karsten (1905) humorously critiques the absurdity of the hat perched atop Karsten’s head.
Munch’s disdain for the Swedish banker Ernest Thiel, who commissioned the portrait of Nietzsche’s sister, was so profound that he famously destroyed the unfinished work by punching through it. Such extremes highlight the artist’s volatile nature, yet even his most acerbic portraits possess layers of meaning that reflect the depth of conversation shared between artist and sitter.
In moments of exceptional artistry, Munch’s painterly gestures yield profound insights, as seen in Seated Model on the Couch (1924), where the model Birgit Prestøe, dubbed the “gothic girl,” eludes full comprehension even as she occupies the canvas. Munch’s ability to transcend superficial portrayals liberates his subjects from the constraints of traditional society portraiture.
In Henriette Olsen (1932), against the backdrop of dazzling sunlight, the pattern of her dress merges with the surrounding foliage, transforming her into a goddess caught in metamorphosis, emphasizing the transient nature of existence.
Edvard Munch: Portraits is on display at the National Portrait Gallery until June 15 (npg.org.uk).
