Norwegian 1863-1944 Edvard Munch Locations Edvard Munch (pronounced , December 12, 1863 ?C January 23, 1944) was a Norwegian Symbolist painter, printmaker, and an important forerunner of expressionistic art. His best-known composition, The Scream is one of the pieces in a series titled The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholy. Edvard Munch was born in a rustic farmhouse in the village of Adalsbruk in Loten, Norway to Christian Munch, the son of a prominent priest. Christian was a doctor and medical officer, who married Laura Cathrine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Cathrine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have gotten their art talent from their mother. Edvard Munch was related to painter Jacob Munch (1776?C1839) and historian Peter Andreas Munch (1810?C1863). The family moved to Kristiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard??s mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877. After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He also received tutoring from his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost stories and tales of Edgar Allan Poe. Christian??s positive behavior toward his children, however, was overshadowed by his morbid pietism. Munch wrote, ??My father was temperamentally nervous and obsessively religious??to the point of psychoneurosis. From him I inherited the seeds of madness. The angles of fear, sorrow, and death stood by my side since the day I was born.?? Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvard??s poor health and the vivid ghost stories, helped inspire macabre visions and nightmares in Edvard, who felt death constantly advancing on him. One of Munch's younger sisters was diagnosed with mental illness at an early age. Of the five siblings only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies??the heritage of consumption and insanity." Christian Munch??s military pay was very low, and his attempts at developing a private side practice failed, keeping his family in perrenial poverty. They moved frequently from one sordid flat to another. Munch??s early drawings and watercolors depicted these interiors, and the individual objects such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch??s interests. At thirteen, Munch has his first exposure to other artists at the newly formed Art Association, were he admired the work of the Norwegian landscape school, and where he returned to copy the paintings, and soon he began to paint in oils.  Related Paintings of Edvard Munch :. | Ash | Scenery of Aosike | portratt av malaren ludvig karsten | Wedding | Four girls on a bridge |
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GIOTTO di Bondone
Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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Charles Wellington Furse
(January 13, 1868 - October 16, 1904) was an English painter. He was born at Staines, the son of the Rev. C. W. Furse, archdeacon of Westminster, and rector of St John's, Smith Square and descended collaterally from Sir Joshua Reynolds; and in his short span of life achieved such rare excellence as a portrait and figure painter that he forms an important link in the chain of British portraiture which extends from the time when Van Dyck was called to the court of Charles I into the 20th century. His talent was precocious; at the age of seven he gave indications of it in a number of drawings illustrating Scott's novels. He entered the Slade School in 1884, winning the Slade scholarship in the following year, and completed his education at Julians Atelier in Paris. Hard worker as he was, his activity was frequently interrupted by spells of illness, for he had developed signs of consumption when he was still attending the Slade school. An important canvas called Cain was his first contribution (1888) to the Royal Academy, to the associateship of which he was elected in the year of his death. For some years before he had been a staunch supporter of the New English Art Club, to the exhibitions of which he was a regular contributor. In October 1900 he married Katharine Symonds, the daughter of John Addington Symonds. She later became known as Dame Katharine Furse. The couple had 2 sons. His fondness for sport and of an open-air life found expression in his art and introduced a new, fresh and vigorous note into portraiture. There is never a suggestion of the studio or of the fatiguing pose in his portraits. The sitters appear unconscious of being painted, and are generally seen in the pursuit of their favourite outdoor sport or pastime, in the full enjoyment of life. Such are the Diana of the Uplands, the Lord Roberts and The Return from the Ride at the Tate Gallery; the four children in the Cubbing with the York and Ainsty, The Lilac Gown, Mr. and Mrs. Oliver Fishing and the portraits of Lord Charles Beresford and William Johnson Cory. Most of these pictures, and indeed nearly all the work completed in the few years of Furse's activity, show a pronounced decorative tendency. His sense of space, composition and decorative design can best be judged by his admirable mural decorations for Liverpool town hall, executed between 1899 and 1902. A memorial exhibition of Furse's paintings and sketches was held at the Burlington Fine Arts Club in 1906.