The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection
| Author | : | |
| Rating | : | 4.24 (544 Votes) |
| Asin | : | 0300069529 |
| Format Type | : | paperback |
| Number of Pages | : | 236 Pages |
| Publish Date | : | 2018-02-09 |
| Language | : | English |
DESCRIPTION:
The artwork in The Symbolist Prints of Edvard Munch is so beautifully reproduced that one might be tempted to tear out pages, frame them and hang them on the wall. . Elizabeth Prelinger's essays provide background on Munch's life, printmaking techniques, and the development of his symbolist aesthetic. An exciting element of the book is an evocative essay by renowned critic, Peter Schjeldahl, who, in inimitable style, likens Munch's effect on the viewer to that of listening to the early work of a favorite rock-star. Published on the occasion of an exhibit at the Art Gallery of Ontario in early 1997, this book provides excellent documentation of an artist whose work r
This work considers Munch's graphic work through the lens of a private collection, which includes impressions of virtually all of his major prints, along with alternative versions and early states.. Edvard Munch is famous for his prints, particularly The Scream and Madonna
David C. said Among the best of the literature on Munch's prints. After Gerd Woll's Herculean "Complete Prints," his is perhaps the best of the lot in the literature on Munch's prints. Particularly insightful and - for this collector - unique are the reproductions of the original blocks, with detailed explanations on Munch's unique and complex assembly and execution of his wholly original "ji. The Print and the Darkness He was bound determined not to paint people reading and women knitting, but instead to show people who breathed emotions into his darkly suggestive prints. "Death in the sickroom" showed family members at the ages when they were painted, not when his sister Sophie died; it expressed unity in grief as one of death's longlasting . La douleur, la couleur et le criard A Customer Il montrait sa soeur Sophie qui mourait jeune, entouree de toute la famille. Mais il montrait chacun a l'age qu'il avait a l'epoque de la peinture, et non pas a la mort de la jeune fille. Car la douleur durait a jamais et unifiait toute la famille pour toujours. Puis avec des tetes d'une femme et d'un homme, gravees et multicol