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Summary: The first major exhibition of his works since 1978
Review: Elizabeth Prelinger's After The Scream celebrates the late paintings of Edvard Munich: haunting paintings which also reveal quite a different side of the artist. While his images of people remain striking, he painted a range of subjects and used a brighter approach later in life, and this accompanies the first major exhibition of his works since 1978 - and the first to focus on his later achievements.
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Summary: the unknown munch
Review: munch is an artist who became so well known for an early work ("the scream") that his later work was eclipsed by it. the fact that nearly all of his later works hang in an oslo museum hasn't helped either. so it's a real surprise to browse this exhibition catalog and discover the many beautiful paintings munch created in the half century between "the scream" (1893) and his death (1944).munch's technique is very interesting: using thinned oil paints, with direct application of single layers of color, his paintings approach watercolors in their spontaneity, light, and beautifully textured color harmonies. at the same time, his themes are very personal -- his illnesses, his large estate near oslo, his lonely life painting in the countryside, his struggle with alcoholism. technique and themes combine to give his work a uniquely poignant lyricism. the accompanying text on munch's life and work is well written and comprehensive. this is a great gift for someone who loves painting -- even if they know art well, munch's late works will come as a happy revelation.
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Summary: A new view of a modern master
Review: Preliger writes swiftly and cleanly, though of course much of the book's heft is devoted to reproducing the paintings under question. She is very good at describing and clarifying how narrow our view of Munch has been; we treat him like some kind of haunted Poe or Klimt-like figure, even though the majority of his work has a golden glow like a fairy tale, and is not horror stricken as the early work we associate him with. His painting is smooth and delicate, reminding me of the clear tempera colors we used to paint Easter Eggs with when we were small children, and there is something of the innocence of a child about his mature work; it is as though having undergone the darkness early on, his spirit was allowed to soar later on. Or compare Shakespeare's late romances like The Winter's Tale or Cymbeline with the earlier and heavier problem plays (Measure for Measure) etc. In any case, brava to Elizabeth Preliger for her much needed corrective.
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