The essay explores the art of Edvard Munch. Edvard Munch was a Norwegian artist but was mostly located in Germany where he worked on most of his paintings. Munch was a renowned painter whose work was to be developed later for printmaking and worked in various graphic media…
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The essay "Liquified flesh in edvard munch's paintings" discovers the art and life of Edvard Munch. In order to understand the ‘liquid flesh’ concept as indicated, there is a need to understand Symbolic artistic style that employed images to convey ideas or experiences. In this regard, symbols were used as signs to communicate a perspective. In symbolism, the artist devised a way of communicating with images while avoiding portraying these images in a naturalistic manner as they appeared to the audience this involved avoiding vanishing points and perspectives in from the painting, and altering the naturalistic colors in avoid any detail that would make the image real. These involved the artist exaggerating, simplifying or applying a new style, and application of unnatural colors to indicate that the images were not real by themselves but were standing in for a certain perspectives. However, The Kiss painting did not amuse Prxybyszewski due to the distortion of images to hide reality and facilitate symbolization of ideas. As such, the The kiss" is repulsive, and that it resembles "liquefied flesh.” Therefore, Munch’s paintings were visual messages that reflected issues in the society, and which expressed his feelings concerning issues affecting him on a daily basis, suggesting that any literal definition of these paintings lost the actual messages that Munch expressed. Prxybyszewski when referring to Munch’s paintings as liquefied flesh and repulsive was reacting to the disorder. involved in the symbolism approach, in communicating ideas and perspectives through images. As Prelinger explains, the symbolic artist had a view of communicating with images, but the images were not to have any realistic resemblance so as not to blur the message communicated.2 As a result, the artist embraced a tendency to change the images used by simplifying them, exaggerating or distorting the style of painting to ensure the images only communicated the intended message. In other words, symbolism artists such as Munch had a tendency of imposing their dominion on the reality to ensure the reality was their servant and not the artists acting as the servant of reality.3 As Prelinger explained, symbolism in this approach only had regard for thoughts and moods and employed reality as symbol. In this case, Prxybyszewski was referring to this alteration in images. In painting “the kiss,” the two images while kissing are closely fused and are embedded as two people with one head. “On the rosy frontier, the inner and outer parts of the man meet and exchange their emancipations while thousands of sensitive nerves give and receive the impressions received from the senses.”4 Between man and the women, space has been lost and has merged their heads together forming the symbol of a knotty tree, which makes the lovers seem like to ancient trees.5 The image portrays the togetherness that results from burning passion between a man and a woman such that there is no distance between them as they explore fantasy. Prxybyszewski laments, “….but the entire passion of the kiss, the horrible power of sexuality, painfully yearning longing the disappearance of the consciousness of the ego…. – all this is so honestly experienced that we can accept the repulsive-unusual.”6 Prxybyszewski in this remark portrays the power passion and live experienced between a man and woman such that they were completely merged to one another and with all their consciousness lost. In other
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