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Death, Illness, Life and Love in the work of one of the protagonists of the Northers Symbolism at the end of XIX Century: Edvard - Term Paper Example

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Instructor Date Death, Illness, Life and Love in the work of one of the protagonists of the Northers Symbolism at the end of XIX Century: Edvard Munch Introduction The great Norwegian artist, Edvard Munch, born in 1863 and died in 1944, developed one of the greatest eye-catching and psychologically influential painting styles in the history of art (Gill 55)…
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Death, Illness, Life and Love in the work of one of the protagonists of the Northers Symbolism at the end of XIX Century: Edvard
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Death, Illness, Life and Love in the work of one of the protagonists of the Northers Symbolism at the end of XIX Century: Edvard

Download file to see previous pages... Munch’s intensely innovative design was born in 1892 with his first paintings to have seen the world. The attractive, complex use of lines in his contemporary paintings was parallel to that of modern arts (Gill 75). In Nouveau, however, Munch made use of lines not for aesthetic purposes, but as a channel for reflective psychological disclosure (Gill 75). The aggressive emotion and exceptional descriptions of his images, especially the courageously frank symbols of sexuality, led to numerous disagreements. Critics were upset by his original method, which to most of them appeared incomplete and rough. This confrontation with critics made Munch popular in Germany and other European countries (Gill 75). He was imaginative, yet eternally troubled painter concerned about human issues that touch on chronic sickness, sexual freedom, and religious aspirations. Gill portrayed these issues through painting semi-concept and secretive themes (Gill 75). The painters displayed individuals in suffering, just as they appeared to a realistic, objective observer. This perspective changed with other Expressionists and Munch’s works (Gill 45). They displayed the earth as observed in the eyes of individuals in suffering. ...
The most important thing to Munch was his types of painting that enabled him to fulfill his dream and his imaginative influences. These efforts would frequently produce collections of pictures united by a common impression (Munch 538). For Munch art was in a specific sense a channel of research, where he discovered the obscurities of lifecycle and of the world. In this manner, he did not develop an art for its own sake, but for humanity (Munch 538). Munch used twisted figures and paints that were sensitive rather than accurate (538). In his view, everything is unrecognizable to make an individual or observer to feel convinced in any way (Munch 538).The people normally presented in these pictures are usually terrified. The figure curves and changes in the same way as a scream develops and emanates from within (Munch 538).This scream is so intense that the shape clutches its hands firmly over his ears. This entire view shakes with the force of this shriek, and it repeats across the background like currents across stagnant water (Munch 538). Munch’s childhood was stained by misfortune (Munch 537). Munch’s mother passed on when Munch was five years, and his sister died when he was fourteen years (Munch 537). The anxiety, suffering and passing of his loved ones he had experienced during his life turned out to be the central themes for his paintings (Munch p. 537). Among the works of art include the picture that presents the sick child which can be interpreted to be an illustration of how much his suffering influenced much of his paintings. He kept on going back to this theme most of the time in images and patterns and was also motivated by the demise of his elder sister. In this image, Munch ...Download file to see next pagesRead More
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