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 :. | The Self-Portrait of hell | White night | Head of girl | Landscape | Summer |
Related Artists:
Jan josephsz van goyen
Dutch , Leyden 1596-The Hague 1656 was a Dutch landscape painter. Van Goyen was an extremely prolific artist; approximately twelve hundred paintings and more than one thousand drawings by him are known. Jan van Goyen was the son of a shoemaker and started as an apprentice in Leiden. Like many Dutch painters of his time, Jan van Goyen studied art in the town of Haarlem with Esaias van de Velde. At age 35, he established a permanent studio at Den Haag (The Hague). Crenshaw tells (and mentions the sources) that Van Goyen's landscape paintings rarely fetched high prices, but he made up for the modest value of individual pieces by increasing his production, painting thinly and quickly with a limited palette of inexpensive pigments. Despite his market innovations, he always sought more income, not only through related work as an art dealer and auctioneer but also by speculating in tulips and real estate. Although the latter was usually a safe avenue of investing money, in Van Goyen's experience it led to enormous debts. Paulus Potter rented one of his houses. Nicolaes van Berchem became his pupil. In 1652 and 1654 he was forced to sell his collection of paintings and graphic art, and he subsequently moved to a smaller house. He died in 1656, still unbelievably 18,000 guilders in debt, forcing his widow to sell their remaining furniture and paintings.
Louis Dewis
(1872-1946) was a Belgian Post-Impressionist painter, who lived most of his adult life in France. Dewis was born Isidore Louis Dewachter in Mons, Belgium, the son of Isidore Louis Dewachter and Eloise Desmaret Dewachter. He spent his formative years in Liege where his closest boyhood friend was Richard Heintz (fr:Richard Heintz) (1871-1929), who also became an internationally known landscape artist. Although the name "Dewachter" may have Flemish roots, Dewachter always considered himself a Walloon.
Theodor Kalide
1801 Konigshutte-1863 Gleiwitz,German sculptor. At the age of 15 he was apprenticed at the K?nigliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Cou? and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauch's example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744-1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figure's provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died.