View source for Edvard Munch

{{Short description|Norwegian painter (1863–1944)}}
{{For|the film|Edvard Munch (film){{!}}''Edvard Munch'' (film)}}
{{Use dmy dates|date=December 2024}}
{{Infobox artist
| name         = Edvard Munch
| image        = Portrait of Edvard Munch (cropped).png
| caption      = Munch {{circa|1889}}
| birth_date   = {{Birth date|1863|12|12|df=y}}
| birth_place  = [[Ådalsbruk]], [[Løten Municipality|Løten]], Norway
| death_date   = {{Death date and age|1944|1|23|1863|12|12|df=y}}
| death_place  = [[Oslo]], Norway
| field        = [[Painting]] and graphic artist
| movement     = [[Symbolism (movement)|Symbolism]], [[Expressionism]]
| signature = Edvard Munch, signature.svg
| works        = {{plainlist|
* ''[[The Scream]]''
* ''[[Madonna (Munch)|Madonna]]''
* ''[[The Sick Child (Munch)|The Sick Child]]''
}}}}

'''Edvard Munch''' ({{IPAc-en|m|ʊ|ŋ|k}} {{Respell|MUUNK}};{{sfn|Wells|2008|p=}} {{IPA|no|ˈɛ̀dvɑɖ ˈmʊŋk|lang|Edvard_Munch_pronunciation.ogg}}; 12 December 1863 – 23 January 1944) was a Norwegian painter. His 1893 work ''[[The Scream]]'' has become one of the most iconic and acclaimed images in all of [[Western art]].

His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the [[Norwegian National Academy of Fine Arts|Royal School of Art and Design]] in [[Kristiania]] (Oslo), Munch began to live a bohemian life under the influence of the nihilist [[Hans Jæger]], who urged him to paint his own emotional and psychological state ('[[Expressionism|soul painting]]'); from this emerged his distinctive style.

Travel brought new influences and outlets. In Paris, he learned much from [[Paul Gauguin]], [[Vincent van Gogh]] and [[Henri de Toulouse-Lautrec]], especially their use of color. In Berlin, he met the Swedish dramatist [[August Strindberg]], whom he painted, as he embarked on a major series of paintings he would later call ''The Frieze of Life'', depicting a series of deeply-felt themes such as love, anxiety, jealousy and betrayal, steeped in atmosphere.

''The Scream'' was conceived in Kristiania. According to Munch, he was out walking at sunset, when he 'heard the enormous, infinite scream of nature'. The painting's agonized face is widely identified with the ''angst'' of the modern person. Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would eventually command the [[List of most expensive paintings|fourth highest nominal price paid for a painting]] at auction.<ref>Munch, Edvard. The Private Journals of Edvard Munch. Edited by J. Gill Holland, University of Wisconsin Press, 2005.</ref>
[[File:Munch - Self-Portrait with Palette, 1926, Lot 114.jpg|thumb|''Self-Portrait with Palette'' (1926). On view at the [[Clark Art Institute]]]]
As his fame and wealth grew, his emotional state remained insecure. He briefly considered marriage, but could not commit himself. A mental breakdown in 1908 forced him to give up heavy drinking, and he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city's museums. His later years were spent working in peace and privacy. Although his works were banned in Nazi-occupied Europe, most of them survived [[World War II]], securing him a legacy.

==Life==
=== Childhood ===
Edvard Munch was born in a farmhouse in the village of [[Ådalsbruk]] in [[Løten Municipality|Løten]], [[Union between Sweden and Norway|Norway]], to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie, and three younger siblings: Peter Andreas, Laura Catherine, and Inger Marie. Laura was artistically talented and may have encouraged Edvard and Sophie. Edvard was related to the painter [[Jacob Munch]] and the historian [[Peter Andreas Munch]].<ref>{{harvnb|Eggum|1984|p=15}}</ref>

The family moved to [[Oslo]] (then called Christiania and renamed Kristiania in 1877) in 1864 when Christian Munch was appointed medical officer at [[Akershus Fortress]]. In 1868 Edvard's mother died of [[tuberculosis]]. Munch's favourite sister, Johanne Sophie, also died of tuberculosis, at the age of 15, in 1877.<ref name=Eg_p16>{{harvnb|Eggum|1984|p=16}}</ref> 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 was tutored by 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 the tales of the American writer [[Edgar Allan Poe]].<ref>{{harvnb|Prideaux|2005|p=17}}</ref>

As Edvard remembered it, Christian's positive behavior towards his children 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 angels of fear, sorrow, and death stood by my side since the day I was born."<ref>{{harvnb|Prideaux|2005|p=2}}</ref> Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The father’s obsessions, Edvard's poor health, and the vivid ghost stories helped inspire his macabre visions and nightmares; he felt that death was constantly approaching.<ref>{{harvnb|Prideaux|2005|p=19}}</ref> One of Munch's younger sisters, Laura, 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 [[Tuberculosis|consumption]] and [[insanity]]".<ref>{{harvnb|Eggum|1984|p=137}}</ref>

Christian Munch's military pay was very low, and his attempts to develop a private side practice failed, keeping his family in genteel but perennial poverty.<ref name=Eg_p16/> They moved frequently from one cheap [[apartment|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.<ref>{{harvnb|Eggum|1984|p=22}}</ref> At 13, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils.<ref>{{harvnb|Prideaux|2005|pp=22–23}}</ref>

===Mental health===
[[File:Despair Edvard Munch 1894.jpeg|thumb|''Despair'' by Edvard Munch (1894) displays emotion that could be seen as related to [[Dissociation (psychology)|dissociation]] or [[Depression (mood)|depression]] in [[borderline personality disorder]].]]

Due in part to the mental health struggles and incarceration in an institution of his sister, Laura Catherine, and in part to then-prevailing beliefs in hereditary insanity, Edvard Munch often expressed his fear that he would become insane.<ref>{{harvnb|Prideaux|2005|pp=24–26}}</ref> Critics of his art also accused him of insanity, deploying this term in a purely abusive sense. When his painting ''The Sick Child'' was first displayed in Oslo in 1886, Gustav Wentzel and other young Realists encircled Munch and accused him of being a "madman"; another critic Johan Scharffenberg stated that because Munch derived from an "insane family" his art was also "insane."<ref>{{harvnb|Prideaux|2005|pp=120–121, 207–209}}</ref> He is claimed by some to have had [[borderline personality disorder]], a mental health disorder characterized by fear of [[abandonment (emotional)|abandonment]], chronic feelings of emptiness, [[impulsive behavior]], and various other symptoms.{{sfn|Aarkrog|1990|p=}} Munch also displayed [[alcoholism]], a trait often associated with [[impulsivity]] in BPD.{{efn| name=NIH20163}}

===Studies and influences===
[[File:Edvard Munch - Self-Portrait (1895) G0192-59 - Google Art Project.jpg|thumb|right|''Self-Portrait with Skeleton Arm'', 1895, [[Munch Museum]], Oslo]]
In 1879, Munch enrolled in a [[Institute of technology|technical college]] to study engineering, where he excelled in [[physics]], [[chemistry]] and [[mathematics]]. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies.<ref name=Pr_p35>{{harvnb|Prideaux|2005|p=35}}</ref> The following year, much to his father's disappointment, Munch left the college determined to become a painter. His father viewed art as an "unholy trade", and his neighbors reacted bitterly and sent him {{Clarify|reason=Who is "him?" The artist or his father?|date=February 2025}} anonymous letters.<ref>{{harvnb|Prideaux|2005|p=40}}</ref> In contrast to his father's rabid pietism, Munch adopted an undogmatic stance towards art. He wrote his goal in his diary: "In my art I attempt to explain life and its meaning to myself."<ref name=Pr_p35/>

In 1881, Munch enrolled at the [[Norwegian National Academy of Fine Arts|Royal School of Art and Design]] of Kristiania, one of whose founders was his distant relative [[Jacob Munch]]. His teachers were the sculptor [[Julius Middelthun]] and the [[Naturalism (painting)|naturalistic]] painter [[Christian Krohg]].<ref>{{harvnb|Prideaux|2005|p=41}}</ref> That year, Munch demonstrated his quick absorption of his figure training at the academy in his first portraits, including one of his father and his first self-portrait. In 1883, Munch took part in his first public exhibition and shared a studio with other students.<ref>{{harvnb|Eggum|1984|p=34}}</ref> His full-length portrait of Karl Jensen-Hjell, a notorious bohemian-about-town, earned a critic's dismissive response: "It is impressionism carried to the extreme. It is a travesty of art."<ref name=Pr_p34>{{harvnb|Prideaux|2005|p=34}}</ref> Munch's nude paintings from this period survive only in sketches, except for ''Standing Nude'' (1887). They may have been confiscated by his father.<ref>{{harvnb|Eggum|1984|p=41}}</ref>

[[Impressionism]] inspired Munch from a young age.<ref>{{Cite web|url=http://www.edvard-munch.org/kiss-by-the-window/|title=Kiss by the Window by Edvard Munch|website=www.edvard-munch.org|access-date=3 October 2021|archive-date=3 October 2021|archive-url=https://web.archive.org/web/20211003134143/http://www.edvard-munch.org/kiss-by-the-window/|url-status=usurped}}</ref> During these early years, he experimented with many styles, including [[Naturalism (painting)|Naturalism]] and Impressionism. Some early works are reminiscent of Manet. Many of these attempts brought him unfavorable criticism from the press and garnered him constant rebukes by his father, who nonetheless provided him with small sums for living expenses.<ref name=Pr_p34/> At one point, however, Munch's father, perhaps swayed by the negative opinion of Munch's cousin [[Edvard Diriks]] (an established, traditional painter), destroyed at least one painting (likely a nude) and refused to advance any more money for art supplies.<ref>{{harvnb|Eggum|1984|p=43}}</ref>

Munch also received his father's ire for his relationship with [[Hans Jæger]], the local nihilist who lived by the code "a passion to destroy is also a creative passion" and who advocated suicide as the ultimate way to freedom.<ref name="Prideaux">{{harvnb|Prideaux|2005|pp=71, 74}}</ref> Munch came under his malevolent, anti-establishment spell. "My ideas developed under the influence of the [[Bohemianism|bohemians]] or rather under Hans Jæger. Many people have mistakenly claimed that my ideas were formed under the influence of [[August Strindberg|Strindberg]] and the Germans ... but that is wrong. They had already been formed by then."<ref>{{harvnb|Prideaux|2005|p=71}}</ref> At that time, contrary to many of the other bohemians, Munch was still respectful of women, as well as reserved and well-mannered, but he began to give in to the binge drinking and brawling of his circle. He was unsettled by the sexual revolution going on at the time and by the independent women around him. He later turned cynical concerning [[sexual matters]], expressed not only in his behavior and his art, but in his writings as well, an example being a long poem called ''The City of Free Love''.<ref>{{harvnb|Prideaux|2005|p=72}}</ref>

After numerous experiments, Munch concluded that the Impressionist idiom did not allow sufficient expression. He found it superficial and too akin to scientific experimentation. He felt a need to go deeper and explore situations brimming with emotional content and expressive energy. Under Jæger's commandment that Munch should "write his life", meaning that Munch should explore his own emotional and psychological state, the young artist began a period of reflection and self-examination, recording his thoughts in his "soul's diary".<ref>{{harvnb|Prideaux|2005|p=83}}</ref> This deeper perspective helped move him to a new view of his art. He wrote that his painting ''[[The Sick Child (Munch)|The Sick Child]]'' (1886), based on his sister's death, was his first "soul painting", his first break from Impressionism. The painting received a negative response from critics and from his family, and caused another "violent outburst of moral indignation" from the community.<ref>{{harvnb|Prideaux|2005|p=88}}</ref>

Only his friend Christian Krohg defended him:

<blockquote>He paints, or rather regards, things in a way that is different from that of other artists. He sees only the essential, and that, naturally, is all he paints. For this reason Munch's pictures are as a rule "not complete", as people are so delighted to discover for themselves. Oh, yes, they are complete. His complete handiwork. Art is complete once the artist has really said everything that was on his mind, and this is precisely the advantage Munch has over painters of the other generation, that he really knows how to show us what he has felt, and what has gripped him, and to this he subordinates everything else.<ref>{{harvnb|Eggum|1984|pp=52–53}}</ref></blockquote>

Munch continued to employ a variety of brushstroke techniques and color palettes throughout the 1880s and early 1890s, as he struggled to define his style.<ref>{{harvnb|Eggum|1984|p=46}}</ref> His idiom continued to veer between [[Naturalism (arts)|naturalistic]], as seen in ''Portrait of Hans Jæger'', and [[Impressionism|impressionistic]], as in ''Rue Lafayette''. His ''[[Inger on the Beach]]'' (1889), which caused another storm of confusion and controversy, hints at the simplified forms, heavy outlines, sharp contrasts, and emotional content of his mature style to come.<ref>{{harvnb|Eggum|1984|p=59}}</ref> He began to carefully calculate his compositions to create tension and emotion. While stylistically influenced by the [[Post-Impressionism|Post-Impressionists]], what evolved was a subject matter which was [[symbolism (arts)|symbolist]] in content, depicting a state of mind rather than an external reality. In 1889, Munch presented his first one-man show of nearly all his works to date. The recognition it received led to a two-year state scholarship to study in Paris under French painter [[Léon Bonnat]].<ref>{{harvnb|Eggum|1984|p=55}}</ref>

Munch seems to have been an early critic of photography as an art form, and remarked that it "will never compete with the brush and the palette, until such time as photographs can be taken in Heaven or Hell!"{{sfn|Berman|1986|p=106}}

Munch's younger sister Laura was the subject of his 1899 interior ''Melancholy: Laura''. Amanda O'Neill says of the work, "In this heated claustrophobic scene Munch not only portrays Laura's tragedy, but his own dread of the madness he might have inherited."<ref>{{harvnb|O'Neill|1996|p=44}}</ref>

===Paris===
Munch arrived in Paris during the festivities of the [[Exposition Universelle (1889)]] and roomed with two fellow Norwegian artists. His picture ''Morning'' (1884) was displayed at the Norwegian pavilion.<ref>{{harvnb|Prideaux|2005|p=49}}</ref> He spent his mornings at Bonnat's busy studio (which included female models) and afternoons at the exhibition, galleries, and museums (where students were expected to make copies as a way of learning technique and observation).<ref>{{harvnb|Eggum|1984|p=108}}</ref> Munch recorded little enthusiasm for Bonnat's drawing lessons—"It tires and bores me—it's numbing"—but enjoyed the master's commentary during museum trips.<ref>{{harvnb|Prideaux|2005|p=110}}</ref><ref name=Eg_p61>{{harvnb|Eggum|1984|p=61}}</ref>

Munch was enthralled by the vast display of modern European art, including the works of three artists who would prove influential: [[Paul Gauguin]], [[Vincent van Gogh]], and [[Henri de Toulouse-Lautrec]]—all notable for how they used color to convey emotion.<ref name=Eg_p61/> Munch was particularly inspired by Gauguin's "reaction against realism" and his credo that "art was human work and not an imitation of Nature", a belief earlier stated by [[James Abbott McNeill Whistler|Whistler]].<ref>{{harvnb|Eggum|1984|p=9}}</ref> As one of his Berlin friends said later of Munch, "he need not make his way to Tahiti to see and experience the primitive in human nature. He carries his own Tahiti within him."<ref>{{harvnb|Eggum|1984|p=12}}</ref> Influenced by Gauguin, as well as the etchings of German artist [[Max Klinger]], Munch experimented with prints as a medium to create graphic versions of his works. In 1896 he created his first woodcuts—a medium that proved ideal to Munch's symbolic imagery.<ref name="TaurisBlog" /> Together with his contemporary [[Nikolai Astrup]], Munch is considered an innovator of the [[woodcut]] medium in Norway.<ref name="KODE" />

In December 1889 his father died, leaving Munch's family destitute. He returned home and arranged a large loan from a wealthy Norwegian collector when wealthy relatives failed to help, and assumed financial responsibility for his family from then on.<ref>{{harvnb|Prideaux|2005|p=114}}</ref> Christian's death depressed him and he was plagued by suicidal thoughts: "I live with the dead—my mother, my sister, my grandfather, my father...Kill yourself and then it's over. Why live?"<ref>{{harvnb|Prideaux|2005|p=115}}</ref> Munch's paintings of the following year included sketchy tavern scenes and a series of bright cityscapes in which he experimented with the [[Pointillism|pointillist]] style of [[Georges Seurat]].<ref>{{harvnb|Eggum|1984|pp=64–68}}</ref>

===Berlin===
[[File:Edvard Munch - Evening. Melancholy (1891).jpg|thumb|''[[Melancholy (Munch)|Melancholy]]'', 1891, oil, pencil and crayon on canvas, 73 × 101&nbsp;cm, [[Munch Museum]], Oslo]]
[[File:Edvard Munch im Lindeschen Garten, Lübeck 1902.jpg|thumb|Munch in 1902, in the garden of his patron [[Max Linde]] in [[Lübeck]]; in the background is a cast of [[Auguste Rodin]]'s sculpture ''[[The Age of Bronze]]'']]
By 1892, Munch had formulated his own characteristic, and original, [[synthetist]] style, as seen in ''[[Melancholy (Munch)|Melancholy]]'' (1891), in which color is the symbol-laden element. Considered by the artist and journalist [[Christian Krohg]] as the first [[Symbolism (art)|symbolist]] painting by a Norwegian artist, ''Melancholy'' was exhibited in 1891 at the Autumn Exhibition in Oslo.<ref name="Eggum75">{{harvnb|Eggum|1984|p=75}}</ref> In 1892, [[Adelsteen Normann]], on behalf of the Union of Berlin Artists, invited Munch to exhibit at its November exhibition,<ref name="Pr_135">{{harvnb|Prideaux|2005|pp=135–137}}</ref> the society's first one-man exhibition. However, his paintings evoked bitter controversy (dubbed "The Munch Affair"), and after one week the exhibition closed.<ref name="Pr_135"/> Munch was pleased with the "great commotion", and wrote in a letter: "Never have I had such an amusing time—it's incredible that something as innocent as painting should have created such a stir."<ref>{{harvnb|Eggum|1984|p=91}}</ref>

In Berlin, Munch became involved in an international circle of writers, artists and critics, including the Swedish dramatist and leading intellectual [[August Strindberg]], whom he painted in 1892.{{sfn|Morehead|2019|pp=19–34}} He also met Danish writer and painter [[Holger Drachmann]], whom he painted in 1898. Drachmann was 17 years Munch's senior and a drinking companion at [[Zum schwarzen Ferkel]] (At the Black Piglet) in 1893–94.<ref>{{harvnb|Munch|2005|p=119}}</ref> In 1894 Drachmann wrote of Munch: "He struggles hard. Good luck with your struggles, lonely Norwegian."<ref>{{harvnb|Munch|2005|p=7}}</ref>

During his four years in Berlin, Munch sketched out most of the ideas that would be comprised in his major work, ''The Frieze of Life'', first designed for book illustration but later expressed in paintings.<ref>{{harvnb|Eggum|1984|p=77}}</ref> He sold little, but made some income from charging entrance fees to view his controversial paintings.<ref>{{harvnb|Prideaux|2005|p=153}}</ref> Munch began allowing the appearance of drips in his paintings, as first subtly seen in the painted version of "At the Deathbed" (1895). This effect resulted from the use of highly diluted paint and the deliberate inclusion of drips.<ref>{{Cite web|url=https://www.researchgate.net/publication/327792235|title=Patterns in Munch's Painting Technique}}</ref> Initially, this effect was visible at the edges of his work, but later, the drips became more central, as seen in "By the Deathbed" (1915). The effect of running paint was later adopted by many artists.
[[File:'At the Deathbed' by Edvard Munch, 1895, Bergen Kunstmuseum.JPG|thumb|'At the Deathbed' by Edvard Munch, 1895, Bergen Kunstmuseum]]

His other paintings, including casino scenes, show a simplification of form and detail which marked his early mature style.<ref>{{harvnb|Eggum|1984|p=79}}</ref> Munch also began to favor a shallow pictorial space and a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions, as in ''Ashes'', the figures impart a monumental, static quality. Munch's figures appear to play roles on a theatre stage (''[[Death in the Sick-Room]]''), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in ''[[The Scream]]'', Munch's men and women began to appear more symbolic than realistic. He wrote, "No longer should interiors be painted, people reading and women knitting: there would be living people, breathing and feeling, suffering and loving."<ref name=Eg_p10>{{harvnb|Eggum|1984|p=10}}</ref>

===''The Scream''===
{{Main|The Scream}}
[[File:Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway.jpg|thumb|''[[The Scream]]'' (1893), [[National Museum of Art, Architecture and Design|National Gallery]], Oslo]]
''The Scream'' exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several [[Lithography|lithographs]] of ''The Scream'' (1895 and later).<ref>{{cite web |author=Alan Parker |date=2 May 2012 |title=Will The Real Scream Please Stand Up |url=http://blogs.canoe.ca/parker/general/will-the-real-scream-please-stand-up/ |url-status=usurped |archive-url=https://archive.today/20120707082137/http://blogs.canoe.ca/parker/general/will-the-real-scream-please-stand-up/ |archive-date=7 July 2012 |access-date=6 May 2012}}</ref>

The 1895 pastel sold at auction on 2 May 2012 for [[US$]]119,922,500, including commission. It is the most colorful of the versions{{sfn|Vogel|2012}} and is distinctive for the downward-looking stance of one of its background figures. It is also the only version not held by a Norwegian museum.<ref>{{Cite news |last=Crow |first=Kelly |date=11 July 2012 |title=An Art Mystery Solved: Mogul Is 'Scream' Buyer |url=https://www.wsj.com/articles/SB10001424052702304373804577521240470769420 |url-status=live |url-access=subscription |archive-url=https://web.archive.org/web/20230424005650/https://www.wsj.com/articles/SB10001424052702304373804577521240470769420 |archive-date=24 April 2023 |access-date=17 April 2025 |work=[[The Wall Street Journal]] |quote=Mr. Black's is the only one not in an Oslo museum }}</ref>

The 1893 version was stolen from the [[National Museum of Art, Architecture and Design|National Gallery]] in Oslo in 1994 and was recovered. The 1910 painting was stolen in 2004 from the [[Munch Museum]] in Oslo, but recovered in 2006 with limited damage.<ref>{{Cite news |title=Stolen Munch paintings found safe |url=https://news.bbc.co.uk/1/hi/entertainment/5303200.stm |url-status=live |archive-url=https://web.archive.org/web/20240114210417/http://news.bbc.co.uk/2/hi/entertainment/5303200.stm |archive-date=14 January 2024 |access-date=19 January 2024 |work=[[BBC News]]}}</ref>

''The Scream'' is Munch's most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man.<ref name=Eg_p10/> Painted with broad bands of garish color and highly simplified forms, and employing a high viewpoint, it reduces the agonized figure to a garbed skull in the throes of an emotional crisis.{{citation needed|date=December 2023}}

With this painting, Munch met his stated goal of "the study of the soul, that is to say the study of my own self".<ref>{{harvnb|Faerna|1995|p=16}}</ref> Munch wrote of how the painting came to be: "I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature."<ref>{{harvnb|Faerna|1995|p=17}}</ref> He later described the personal anguish behind the painting, "for several years I was almost mad... You know my picture, 'The Scream?' I was stretched to the limit—nature was screaming in my blood... After that I gave up hope ever of being able to love again."<ref>{{harvnb|Prideaux|2005|p=152}}</ref>

In 2003, comparing the painting with other great works, art historian [[Martha Tedeschi]] wrote:

<blockquote>''[[Whistler's Mother]]'', Wood's ''[[American Gothic]]'', Leonardo da Vinci's ''[[Mona Lisa]]'' and Edvard Munch's ''The Scream'' have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture.{{sfn|MacDonald|2003|p=80}}</blockquote>

===''Frieze of Life – A Poem about Life, Love and Death''===
[[File:Edvard Munch - Madonna - Google Art Project.jpg|thumb|Although it is a highly unusual representation, [[Madonna (Munch)|this painting]] might be of the [[Mary (mother of Jesus)|Virgin Mary]]. Whether the painting is specifically intended as a representation of Mary is disputed. Munch used more than one title, including both ''Loving Woman'' and ''Madonna''.{{sfn|Bischoff|2000|p=42}}{{efn|Munch is not famous for religious artwork and was not known as a Christian. The affinity to Mary might be intended nevertheless, as an emphasis on the beauty and perfection of his friend [[Dagny Juel-Przybyszewska]], the model for the work, and an expression of his worship of her as an ideal of womanhood.{{sfn|Gerner|1993|p=}}<small>(1894, oil on canvas, {{cvt|90|×|68|cm|in|frac=4}}, [[Munch Museum]], Oslo)</small>}}]]

In December 1893, [[Unter den Linden]] in Berlin was the location of an exhibition of Munch's work, showing, among other pieces, six paintings entitled ''Study for a Series: Love''. This began a cycle he later called the ''Frieze of Life – A Poem about Life, Love and Death''. ''Frieze of Life'' motifs, such as ''The Storm'' and ''Moonlight'', are steeped in atmosphere. Other motifs illuminate the nocturnal side of love, such as ''Rose and Amelie'' and ''[[Love and Pain (painting)|Love and Pain]]''. In ''[[Death in the Sickroom]]'', the subject is the death of his sister Sophie, which he re-worked in many future variations. The dramatic focus of the painting, portraying his entire family, is dispersed in the separate and disconnected figures of sorrow. In 1894, he enlarged the spectrum of motifs by adding ''Anxiety'', ''Ashes'', ''[[Madonna (Munch)|Madonna]]'' and ''Women in Three Stages'' (from innocence to old age).<ref>{{harvnb|Faerna|1995|p=28}}</ref>

Around the start of the 20th century, Munch worked to finish the "Frieze". He painted a number of pictures, several of them in bigger format and to some extent featuring the [[Art Nouveau]] aesthetics of the time. He made a wooden frame with carved reliefs for the large painting ''Metabolism'' (1898), initially called ''Adam and Eve''. This work reveals Munch's pre-occupation with the "fall of man" and his pessimistic philosophy of love. Motifs such as ''The Empty Cross'' and ''Golgotha'' (both {{circa|1900}}) reflect a metaphysical orientation, and also reflect Munch's pietistic upbringing. The entire ''Frieze'' was shown for the first time at the [[Berlin Secession|secessionist]] exhibition in Berlin in 1902.<ref>{{harvnb|Prideaux|2005|p=211}}</ref>

"The Frieze of Life" themes recur throughout Munch's work but he especially focused on them in the mid-1890s. In sketches, paintings, pastels and prints, he tapped the depths of his feelings to examine his major motifs: the stages of life, the femme fatale, the hopelessness of love, anxiety, infidelity, jealousy, sexual humiliation, and separation in life and death.<ref>{{harvnb|Eggum|1984|pp=116–118}}</ref> These themes are expressed in paintings such as ''[[The Sick Child (Munch)|The Sick Child]]'' (1885), ''Love and Pain'' (retitled ''Vampire''; 1893–94), ''[[Ashes (Munch)|Ashes]]'' (1894), and ''The Bridge''. The latter shows limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Munch portrayed women either as frail, innocent sufferers (see ''[[Puberty (Munch)|Puberty]]'' and ''Love and Pain'') or as the cause of great longing, jealousy and despair (see ''Separation'', ''Jealousy'', and ''Ashes'').

Munch often uses shadows and rings of color around his figures to emphasize an aura of fear, menace, anxiety, or sexual intensity.<ref>{{harvnb|Eggum|1984|p=122}}</ref> These paintings have been interpreted as reflections of the artist's sexual anxieties, though it could also be argued that they represent his turbulent relationship with love itself and his general pessimism regarding human existence.<ref>{{harvnb|Faerna|1995|p=6}}</ref> Many of these sketches and paintings were done in several versions, such as ''Madonna'', ''Hands'' and ''Puberty'', and also transcribed as wood-block prints and lithographs. Munch hated to part with his paintings because he thought of his work as a single body of expression. So to capitalize on his production and make some income, he turned to graphic arts to reproduce many of his paintings, including those in this series.<ref name=Fa_p5>{{harvnb|Faerna|1995|p=5}}</ref> Munch admitted to the personal goals of his work but he also offered his art to a wider purpose, "My art is really a voluntary confession and an attempt to explain to myself my relationship with life—it is, therefore, actually a sort of egoism, but I am constantly hoping that through this I can help others achieve clarity."<ref>{{harvnb|Eggum|1984|p=118}}</ref>

While attracting strongly negative reactions, in the 1890s Munch began to receive some understanding of his artistic goals, as one critic wrote, "With ruthless contempt for form, clarity, elegance, wholeness, and realism, he paints with intuitive strength of talent the most subtle visions of the soul."<ref>{{harvnb|Eggum|1984|p=121}}</ref> One of his great supporters in Berlin was [[Walther Rathenau]], later the German [[foreign minister]], who strongly contributed to his success.

=== Landscapes and Nature ===
[[File:Thuringian Forest by Edvard Munch, Dallas Museum of Art.jpg|thumb|300x300px|''From Thuringerwald'', 1905, oil on canvas. The work depicts a sinuous cut through the forest with a fleshy earth that harkens back to a physical connection to the viewer.]]Despite over half of his painted works being landscapes, Munch is rarely seen as a landscape artist. However, Munch had a fixation on several elements of nature that resulted in recurrent motifs throughout his work. The shoreline and the forest are both significant settings of Munch's work. A focus on Munch's use of nature to convey emotion is the topic of ''Edvard Munch: Trembling Earth'' at the [[Clark Art Institute]].

===Paris, Berlin and Kristiania===
[[File:Edvard Munch - The sick child (1907) - Tate Modern.jpg|right|thumb|''[[The Sick Child (Munch)|The Sick Child]]'' (1907)]]
In 1896, Munch moved to Paris, where he focused on graphic representations of his ''Frieze of Life'' themes. He further developed his woodcut and lithographic technique. Munch's ''Self-Portrait with Skeleton Arm'' (1895) is done with an etching needle-and-ink method also used by [[Paul Klee]].<ref name=Eg_p141>{{harvnb|Eggum|1984|p=141}}</ref> Munch also produced multi-colored versions of ''The Sick Child'', [[Tuberculosis in human culture|concerning tuberculosis]], which sold well, as well as several nudes and multiple versions of ''Kiss'' (1892).<ref name=Eg_p141/> In May 1896, [[Siegfried Bing]] held an exhibition of Munch's work inside Bing's [[Maison de l'Art Nouveau]]. The exhibition displayed 60 works, including ''The Kiss, The Scream, Madonna, The Sick Child, The Death Chamber, and The Day After.'' Bing's exhibition helped to introduce Munch to a French audience.<ref>{{Cite book|last=Weisberg|first=Gabriel P.|title=Art Nouveau Bing|publisher=Harry N. Abrams, Inc.|year=1986|isbn=0-8109-1486-7|location=New York|pages=112–115|language=English}}</ref> Still, many of the Parisian critics still considered Munch's work "violent and brutal" even if his exhibitions received serious attention and good attendance.<ref>{{harvnb|Eggum|1984|p=152}}</ref> His financial situation improved considerably and, in 1897, Munch bought himself a summer house facing the fjords of Kristiania, a small fisherman's cabin built in the late 18th century, in the small town of [[Åsgårdstrand]] in Norway. He dubbed this home the "Happy House" and returned here almost every summer for the next 20 years.<ref name=Eg_p153/> It was this place he missed when he was abroad and when he felt depressed and exhausted. "To walk in Åsgårdstrand is like walking among my paintings—I get so inspired to paint when I am here".

[[File:Aase and Harald Nørregaard.jpeg|thumb|[[Harald Nørregaard]] (with his wife, painted by Munch in 1899, [[National Gallery (Norway)|National Gallery]]) was one of Munch's closest friends since adolescence, and his adviser and lawyer.{{sfn|Thiis|1933|p=279}}]]
In 1897 Munch returned to Kristiania, where he also received grudging acceptance—one critic wrote, "A fair number of these pictures have been exhibited before. In my opinion these improve on acquaintance."<ref name=Eg_p153>{{harvnb|Eggum|1984|p=153}}</ref> In 1899, Munch began an intimate relationship with Tulla Larsen, a "liberated" upper-class woman. They traveled to Italy together and upon returning, Munch began another fertile period in his art, which included landscapes and his final painting in "The Frieze of Life" series, ''The Dance of Life'' (1899).<ref>{{harvnb|Eggum|1984|p=168}}</ref> Larsen was eager for marriage, but Munch was not. His drinking and poor health reinforced his fears, as he wrote in the third person: "Ever since he was a child he had hated marriage. His sick and nervous home had given him the feeling that he had no right to get married."<ref name=Eg_p174>{{harvnb|Eggum|1984|p=174}}</ref> Munch almost gave in to Tulla, but fled from her in 1900, also turning away from her considerable fortune, and moved to Berlin.<ref name=Eg_p174/> His ''Girls on the Jetty''{{clarify|"Young Girls on a Bridge"?|date=November 2023}}, created in 18 different versions, demonstrated the theme of feminine youth without negative connotations.<ref name=Fa_p5/> In 1902, he displayed his works thematically at the hall of the Berlin Secession, producing "a symphonic effect—it made a great stir—a lot of antagonism—and a lot of approval."<ref>{{harvnb|Eggum|1984|p=176}}</ref> The Berlin critics were beginning to appreciate Munch's work even though the public still found his work alien and strange.

The good press coverage gained Munch the attention of influential patrons Albert Kollman and [[Max Linde]]. He described the turn of events in his diary, "After 20 years of struggle and misery forces of good finally come to my aid in Germany—and a bright door opens up for me."<ref>{{harvnb|Eggum|1984|p=181}}</ref> However, despite this positive change, Munch's self-destructive and erratic behavior led him first to a violent quarrel with another artist, then to an accidental shooting in the presence of Tulla Larsen, who had returned for a brief reconciliation, which injured two of his fingers. Munch later sawed [[Caricature Portrait of Tulla Larsen|a self-portrait depicting him and Larsen]] in half as a consequence of the shooting and subsequent events.{{sfn|Thorpe|2019}} She finally left him and married a younger colleague of Munch. Munch took this as a betrayal, and he dwelled on the humiliation for some time to come, channeling some of the bitterness into new paintings.<ref>{{harvnb|Eggum|1984|p=183}}</ref> His paintings ''Still Life (The Murderess)'' and ''The Death of Marat I'', done in 1906–07, clearly reference the shooting incident and the emotional after-effects.<ref>{{harvnb|Eggum|1984|p=214}}</ref>

In 1903–04, Munch exhibited in Paris where the coming [[Fauvism|Fauvists]], famous for their boldly false colors, likely saw his works and might have found inspiration in them. When the Fauves held their own exhibit in 1906, Munch was invited and displayed his works with theirs.<ref>{{harvnb|Eggum|1984|p=190}}</ref> After studying the sculpture of [[Auguste Rodin|Rodin]], Munch may have experimented with [[plasticine]] as an aid to design, but he produced little sculpture.<ref>{{harvnb|Eggum|1984|p=195}}</ref> During this time, Munch received many commissions for portraits and prints which improved his usually precarious financial condition.<ref>{{harvnb|Eggum|1984|pp=196, 203}}</ref> In 1906, he painted the screen for an [[Henrik Ibsen|Ibsen]] play in the small Kammerspiele Theatre located in Berlin's [[Deutsches Theater (Berlin)|Deutsches Theater]], in which the ''Frieze of Life'' was hung. The theatre's director [[Max Reinhardt]] later sold it; it is now in the Berlin [[Nationalgalerie]].{{sfn|Bernau|2005|pp=65–78}} After an earlier period of landscapes, in 1907 he turned his attention again to human figures and situations.<ref>{{harvnb|Eggum|1984|p=228}}</ref>

===Breakdown and recovery===
[[File:Edvard Munch 1933.jpg|thumb|upright|Munch in 1933]]
In the autumn of 1908, Munch's anxiety, compounded by excessive drinking and brawling, had become acute. As he later wrote, "My condition was verging on madness—it was touch and go."<ref name=Eg_p236>{{harvnb|Eggum|1984|p=236}}</ref> Subject to hallucinations and feelings of persecution, he entered the clinic of Daniel Jacobson. The [[psychotherapy|therapy]] Munch received for the next eight months included diet and "electrification" (a treatment then fashionable for nervous conditions, not to be confused with [[electroconvulsive therapy]]).<ref>{{harvnb|Eggum|1984|pp=235–236}}</ref> Munch's stay in hospital stabilized his personality, and after returning to Norway in 1909, his work became more colorful and less pessimistic. Further brightening his mood, the general public of Kristiania finally warmed to his work, and museums began to purchase his paintings. He was made a Knight of the Royal [[Order of St. Olav]] "for services in art".<ref>{{harvnb|Eggum|1984|p=239}}</ref> His first American exhibit was in 1912 in New York.<ref>{{harvnb|Prideaux|2005|p=373}}</ref>

As part of his recovery, Jacobson advised Munch to only socialize with good friends and avoid [[drinking in public]]. Munch followed this advice and in the process produced several full-length portraits of high quality of friends and patrons—honest portrayals devoid of flattery.<ref>{{harvnb|Eggum|1984|p=240}}</ref> He also created landscapes and scenes of people at work and play, using a new optimistic style—broad, loose brushstrokes of vibrant color with frequent use of white space and rare use of black—with only occasional references to his morbid themes. With more income Munch was able to buy several properties giving him new vistas for his art and he was finally able to provide for his family.<ref>{{harvnb|Eggum|1984|p=259}}</ref>

The outbreak of World War I found Munch with divided loyalties, as he stated, "All my friends are German but it is France I love."<ref>{{harvnb|Prideaux|2005|p=285}}</ref> Given his poor health history, during 1918 Munch felt himself lucky to have survived a bout of the [[Spanish flu]], the worldwide pandemic of that year.<ref>{{harvnb|Prideaux|2005|p=299}}</ref> In the 1930s, his German patrons, many Jewish, lost their fortunes and some their lives during the rise of the Nazi movement.<ref>{{harvnb|Prideaux|2005|p=288}}</ref> Munch found Norwegian printers to substitute for the Germans who had been printing his graphic work.<ref>{{harvnb|Prideaux|2005|p=290}}</ref>

===Later years===
[[File:Munch grave 2.JPG|thumb|Munch's grave at the [[Cemetery of Our Saviour]] in Oslo]]
Munch spent most of his last two decades in solitude at his nearly self-sufficient estate in Ekely, at [[Skøyen]], Oslo.<ref>{{harvnb|Prideaux|2005|p=291}}</ref> Many of his late paintings celebrate farm life, including several in which he used his work horse "Rousseau" as a model.<ref>{{harvnb|Prideaux|2005|p=292}}</ref> Without any effort, Munch attracted a steady stream of female models, whom he painted as the subjects of numerous nude paintings. He likely had sexual relationships with some of them.<ref>{{harvnb|Prideaux|2005|p=297}}</ref> Munch occasionally left his home to paint murals on commission, including those done for the [[Freia (chocolate)|Freia]] chocolate factory.<ref>{{harvnb|Prideaux|2005|p=374}}</ref>

To the end of his life, Munch continued to paint unsparing self-portraits, adding to his self-searching cycle of his life and his unflinching series of takes on his emotional and physical states. In the 1930s and 1940s, the [[Nazi Party|Nazis]] labeled Munch's work "[[degenerate art]]" (along with that of [[Pablo Picasso|Picasso]], [[Paul Klee|Klee]], [[Henri Matisse|Matisse]], [[Paul Gauguin|Gauguin]] and many other modern artists) and removed his 82 works from German museums.<ref>{{harvnb|Eggum|1984|p=287}}</ref> [[Adolf Hitler]] announced in 1937, "For all we care, those pre-historic Stone Age culture barbarians and art-stutterers can return to the caves of their ancestors and there can apply their primitive international scratching."<ref>{{harvnb|Prideaux|2005|p=313}}</ref>

In 1940, the [[German occupation of Norway|Germans invaded Norway]] and the Nazi party took over the government. Munch was 76 years old. With nearly an entire collection of his art in the second floor of his house, Munch lived in fear of a Nazi confiscation. Seventy-one of the paintings previously taken by the Nazis had been returned to Norway through purchase by collectors (the other 11 were never recovered), including ''The Scream'' and ''The Sick Child'', and they too were hidden from the Nazis.<ref>{{harvnb|Prideaux|2005|p=319}}</ref>

===Death===
On the afternoon of 19 December 1943, a fire in an ammunition store at [[Filipstad, Norway|Filipstad]] triggered a series of [[1943 Filipstad explosion|explosions]] in [[Oslo]], killing around 115 people and severely damaging 400 buildings. Munch, whose house was partially damaged by the explosions, witnessed how the resulting conflagration unusually illuminated the night sky which he captured in his painting ''Explosion''.  In observing and painting the scene on a cold, wet night, the 80 year old artist succumbed to a respiratory illness, which led to his death on 23 January 1944 in his house at Ekely.
<ref>{{cite web
 |last= 
 |first= 
 |title=Edvard Munch's Explosion: The Painting That Took a Life
 |url=https://art-hub-magazine.com/2024/04/08/edvard-munchs-explosion-the-painting-that-took-a-life/
 |website=Art Hub Magazine
 |publisher= 
 |date=8 April 2024
 |language=English
 |access-date=21 August 2025
}}</ref>

Shortly after Munch's death several men, including [[Fritz Jenssen]], the NS-mayor of Oslo, arrived at his Ekely house to offer his family a state funeral. His family refused this offer, but to no avail - the Nazis insisted.<ref name="auto1">{{Cite web |last=Hagen |first=Maren Kvamme |date=2020-01-19 |title=Kvifor eigde Munch nazistens visittkort? |url=https://www.nrk.no/kultur/xl/kvifor-hadde-edvard-munch-visittkortet-til-nazisten-josef-terboven_-1.14828662 |access-date=2025-03-18 |website=NRK |language=nn-NO}}</ref> Despite Munch's wish for a private cremation with nobody present, his funeral was hijacked by the Nazis and turned it into a propaganda opportunity.<ref name="auto">{{Cite book |last=Roede |first=Johannes |title=Edvard Munch som vi kjente ham - venner forteller |date=1946 |publisher=Dreyer Forlag |location=Oslo, Norway |pages=54–56 |language=no |trans-title=Edvard Munch as we knew him: The friends tell |chapter=Spredte Erindringer om Edvard Munch |chapter-url=https://www.nb.no/items/893fdb01a1dd189aa754d7e7aaf9876c?page=44}}</ref><ref>{{harvnb|Prideaux|2005|p=328}}</ref>

During Munch's life Nazis struggled to appropriate him as a heroic figure within the Germanic cultural sphere,<ref>{{Cite web |last=Amundsen |first=Bård |date=2013-09-26 |title=Nazistenes vanskelige forhold til Edvard Munch |url=https://www.forskning.no/kunst-og-litteratur-kunsthistorie/nazistenes-vanskelige-forhold-til-edvard-munch/608459 |access-date=2025-03-18 |website=Forskning |language=nb-NO}}</ref> but in death he became easy prey for [[Josef Terboven]] and the [[Nasjonal Samling|NS]].<ref name="auto1"/> Two days after Munch's death the NS-newspaper ''Fritt Folk'' printed an obituary poem by Knut Hamsun on the front page, and dedicated almost the entirety of page two to Munch. They made use of Munch to spread Nazi ideology, and among other things, proclaimed that "Edvard Munch was a shooting star of the Norse race, a representative of our peoples best qualities."<ref>{{Cite news |last=Rasmussen |first=Vilhelm |date=1944-01-25 |title=Professor Vilhelm Rasmussen om Edvard Munch. |url=https://www.nb.no/items/34b6ad63b3d916f934a9e4df0ded82a0?page=1 |access-date=2025-03-18 |work=Fritt Folk |pages=1–2 |language=NO}}</ref> Three days after Munch's death, [[Vidkun Quisling]] could on behalf of the state, boast in the newspapers that they would be paying for Edvard Munch's funeral.<ref>{{cite news |date=1944-01-26 |title=Edvard Munch |url=https://www.nb.no/items/7dc60fbc0a3f899d20e77f34f8828f7d?page=0 |url-access=subscription |work=Fritt Folk |location=Oslo |access-date=2025-03-18 |pages=1 |language=NO}}</ref>

Munch's funeral took place on 31 January 1944 in Oslo. His casket was surrounded in a well of flowers and wreaths, with two enormous wreaths decorated with swastikas placed prominently on either side of his casket. These wreathes were personally signed by Terboven, Quisling, and the NS leader for Public Information and Propaganda [[Georg Wilhelm Müller]].<ref>{{Cite news |date=1944-01-31 |title=Edvard Munchs siste ferd |url=https://www.nb.no/items/c3c4aeef8f2ec8fb655d86f455300933?page=0 |work=Aftenposten |pages=1–2}}</ref> Between the coverage of Edvard Munch's death in newspapers and his Nazi-orchestrated state funeral, the Nazis were successful in creating the impression that Munch supported Nazi ideologies and methods. This led many Norwegians to question whether or not Munch harboured Nazi sympathies.<ref name="auto"/>

The city of Oslo bought Edvard Munch's Ekely estate from his heirs in 1946; the house was demolished in May 1960.{{sfn|Altern|1961|pp=5–19}}

==Legacy==
[[File:Une des salles du musée Munch (Oslo) (4857491003).jpg|thumb|300px|[[Munch Museum]], Oslo]]
[[File:Atelier de restauration du musée Munch (Oslo) (4858110206).jpg|thumb|300px|Munch Museum, Oslo]]
{{Quote box |width=200px |align=right |quoted=true |bgcolor=#FFFFF0 |salign=right |quote =
<poem>From my rotting body,
flowers shall grow
and I am in them
and that is eternity.</poem> |source = Edvard Munch{{sfn|Thompson|Sorvig |2008|p=30}} }}

When Munch died, his remaining works were bequeathed to the city of Oslo, which built the [[Munch Museum]] at [[Tøyen]] (it opened in 1963). The museum holds a collection of approximately 1,100 paintings, 4,500 drawings, and 18,000 prints, the broadest collection of his works in the world.<ref name="aboutmuseum">{{cite web |title=The Museum and the collection |publisher=Munch Museum |url=http://www.munch.museum.no/content.aspx?id=2 |access-date=6 May 2012 |archive-url=https://web.archive.org/web/20120519121248/http://www.munch.museum.no/content.aspx?id=2 |archive-date=19 May 2012 |url-status=dead}}</ref> The Munch Museum serves as Munch's official estate;<ref name="aboutmuseum"/> it has been active in responding to copyright infringements as well as clearing copyright for the work, such as the appearance of Munch's ''The Scream'' in a 2006 [[M&M's]] advertising campaign.<ref>{{cite press release |title=M&M's® Responds to Consumer Demand and Introduces the Fun Way to Eat Dark Chocolate |url=http://www.prnewswire.com/news-releases/mmsr-responds-to-consumer-demand-and-introduces-the-fun-way-to-eat-dark-chocolate-56208762.html |publisher=PR Newswire |author=Masterfoods USA |date=21 August 2006 |access-date=6 May 2012 |archive-date=13 July 2012 |archive-url=https://web.archive.org/web/20120713051843/http://www.prnewswire.com/news-releases/mmsr-responds-to-consumer-demand-and-introduces-the-fun-way-to-eat-dark-chocolate-56208762.html |url-status=live }}</ref> The U.S. copyright representative for the Munch Museum and the Estate of Edvard Munch is the [[Artists Rights Society]].<ref>{{cite web|title=Our Most Frequently Requested Artists |url=http://arsny.com/requested.html |work=Artists Represented |publisher=Artists Rights Society |access-date=6 May 2012 |url-status=dead |archive-url=https://web.archive.org/web/20150206001342/http://www.arsny.com/requested.html |archive-date=6 February 2015 }}</ref>

Munch's art was highly personalized and he did little teaching. His "private" symbolism was far more personal than that of other Symbolist painters such as [[Gustave Moreau]] and [[James Ensor]]. Munch was still highly influential, particularly with the [[German Expressionism|German Expressionists]], who followed his philosophy, "I do not believe in the art which is not the compulsive result of Man's urge to open his heart."<ref name=Eg_p10/> Many of his paintings, including ''The Scream'', have universal appeal in addition to their highly personal meaning.

Munch's works are now represented in numerous major museums and galleries in Norway and abroad. His cabin, "the Happy House", was given to the municipality of Åsgårdstrand in 1944; it serves as a small Munch Museum. The inventory has been maintained exactly as he left it.

One version of ''The Scream'' was stolen from the National Gallery in 1994. In 2004, another version of ''The Scream'', along with one of ''Madonna'', was stolen from the Munch Museum in a daring daylight robbery. These were all eventually recovered, but the paintings stolen in the 2004 robbery were extensively damaged. They have been meticulously restored and are on display again. Three Munch works were stolen from the Hotel [[Refsnes Gods]] in 2005; they were shortly recovered, although one of the works was damaged during the robbery.{{sfn|Gibbs|2005}}

In October 2006, the color [[woodcut]] of Munch's mofif, ''[[Two Human Beings. The Lonely Ones]]'' (''To mennesker. De ensomme''), set a new record for his prints when it was sold at an auction in Oslo for 8.1&nbsp;million [[Norwegian krone|kroner]] (US$1.27&nbsp;million {{Inflation|index=US|start_year=2006|value=1270000|cursign=$|fmt=eq|r=-5}}). It also set a record for the highest price paid in auction in Norway.<ref>{{cite news |title=Noen høyere? |newspaper=Aftenposten |date=27 December 2006 |url=http://www.aftenposten.no/kul_und/article1581669.ece |access-date=25 December 2007 |archive-url=https://web.archive.org/web/20071012214738/http://www.aftenposten.no/kul_und/article1581669.ece |archive-date=12 October 2007 |url-status=dead}}</ref> On 3 November 2008, the painting ''Vampire'' set a new record for his paintings when it was sold for US$38,162,000 ({{Inflation|index=US|start_year=2008|value=38162000|cursign=$|fmt=eq|r=-5}}) at [[Sotheby's]] New York.

Munch's image appeared on the Norwegian [[Banknotes of the Norwegian krone#1000 kroner note|1,000-kroner note]] (Series VII; valid from 2001 to 2020), along with pictures inspired by his artwork.<ref>{{cite web |title=1000-krone note |url=http://www.norges-bank.no/en/notes-and-coins/banknotes/1000-krone-note/ |url-status=live |archive-url=https://web.archive.org/web/20120520005355/http://www.norges-bank.no/en/notes-and-coins/banknotes/1000-krone-note/ |archive-date=20 May 2012 |access-date=27 July 2024 |work=Notes and coins |publisher=Norges Bank}}</ref>

From July 31 - November 28, 2010, the National Gallery of Art exhibited Munch’s prints in ''Edvard Munch: Master Prints''.<ref>{{Cite web |date=2010-07-31 |title=Edvard Munch: Master Prints {{!}} National Gallery of Art |url=https://www.nga.gov/exhibitions/edvard-munch-master-prints |access-date=2025-08-05 |website=www.nga.gov |language=en}}</ref> The catalog was edited by Elizabeth Prelinger {{ISBN|978-3791350592}}

In February 2012, a major Munch exhibition, ''Edvard Munch. The Modern Eye'', opened at the [[Schirn Kunsthalle Frankfurt]]; the exhibition was opened by [[Mette-Marit, Crown Princess of Norway]].<ref name="YT" /><ref>{{Cite press release |url=http://www.e-flux.com/announcements/edvard-munch-the-modern-eye/ |title=Edvard Munch. The Modern Eye |publisher=e-flux |year=2012 |access-date=16 June 2013 |archive-date=17 May 2013 |archive-url=https://web.archive.org/web/20130517034121/http://www.e-flux.com/announcements/edvard-munch-the-modern-eye/ |url-status=live }}</ref>

In May 2012, ''The Scream'' sold for US$119.9&nbsp;million ({{Inflation|index=US|start_year=2012|value=119900000|cursign=$|fmt=eq|r=-5}}), and is the [[List of most expensive paintings|second most expensive artwork ever sold]] at an open auction. (It was surpassed in November 2013 by ''[[Three Studies of Lucian Freud]]'', which sold for US$142.4&nbsp;million).{{sfn|Jones|2013}}

In 2013, four of Munch's paintings were depicted in a series of stamps by the [[Posten Norge|Norwegian postal service]], to commemorate in 2014 the 150th anniversary of his birth.<ref>{{cite news |publisher=[[Norsk Telegrambyrå|NTB]] |url=http://www.dagbladet.no/2013/02/13/nyheter/innenriks/kunst/frimerker/25738056/ |title=Munchs "Skrik" blir frimerke |language=no |newspaper=Dagbladet |date=13 February 2013 |access-date=17 February 2013 |archive-date=17 February 2013 |archive-url=https://web.archive.org/web/20130217193840/http://www.dagbladet.no/2013/02/13/nyheter/innenriks/kunst/frimerker/25738056/ |url-status=live }}</ref>

From May 19 - August 11, 2013, the [[National Gallery of Art]] exhibited ''Edvard Munch: A 150th Anniversary Tribute''.<ref>{{Cite web |date=2013-05-19 |title=Edvard Munch: A 150th Anniversary Tribute {{!}} National Gallery of Art |url=https://www.nga.gov/exhibitions/edvard-munch-150th-anniversary-tribute |access-date=2025-08-04 |website=www.nga.gov |language=en}}</ref>

In 2016 the [[Neue Galerie New York|Neue Galerie]], New York City, hosted the exhibition, ''Munch and Expressionism'', which “…examined Edvard Munch’s influence on his German and Austrian contemporaries.”<ref>{{Cite web |title=Munch and Expressionism |url=https://www.neuegalerie.org//exhibitions/munch-and-expressionism |access-date=2025-07-27 |website=Neue Galerie New York |language=en}}</ref>

On 14 November 2016 a version of Munch's ''The Girls on the Bridge'' sold for US$54.5&nbsp;million ({{Inflation|index=US|start_year=2016|value=54500000|cursign=$|fmt=eq|r=-5}}) at [[Sotheby's]], New York, making it the second highest price achieved for one of his paintings.<ref>{{cite web|title=Munch Masterpiece Propels Evening Sale|url=http://www.sothebys.com/en/news-video/slideshows/2016/impressionist-results-november-2016.html|website=Sotheby's|access-date=29 January 2018|archive-date=30 January 2018|archive-url=https://web.archive.org/web/20180130091240/http://www.sothebys.com/en/news-video/slideshows/2016/impressionist-results-november-2016.html|url-status=dead}}</ref>

In 2017, ''Edvard Munch: Between the Clock and the Bed'', was an exhibition of Munch’s work created over his career, including 16 self-portraits.  It was organized by [[San Francisco Museum of Modern Art]]<ref>{{Cite web |title=Edvard Munch: Between the Clock and the Bed |url=https://www.sfmoma.org/exhibition/edvard-munch-between-clock-and-bed/ |access-date=2025-08-18 |website=SFMOMA |language=en-US}}</ref> (exhibited June 24–October 9, 2017), [[Met Breuer|The Met Breuer]],<ref>{{Cite web |title=Edvard Munch: Between the Clock and the Bed |url=https://localhost:5000/exhibitions/listings/2017/edvard-munch |access-date=2025-08-18 |website=The Metropolitan Museum of Art}}</ref> New York (exhibited November 15, 2017 – February 4, 2018), and the [[Munch Museum]],<ref>{{Cite web |title=EDVARD MUNCH - BETWEEN THE CLOCK AND THE BED |url=https://www.munch.no/en/exhibitions/archive/2018/edvard-munch.-between-the-clock-and-the-bed/ |access-date=2025-08-18 |website=www.munch.no |language=en}}</ref> Oslo (exhibit May 12–September 9, 2018).  The catalog of the same name was edited by Gary Garrels, Jon-Ove Steihaug and Sheena Wagstaff.  {{ISBN|978-1-588-39623-5}}

From September 3, 2017 - January 28, 2018, the National Gallery of Art exhibited Munch’s prints in “''Edvard Munch: Color in Context''.”<ref>{{Cite web |date=2017-09-03 |title=Edvard Munch: Color in Context {{!}} National Gallery of Art |url=https://www.nga.gov/exhibitions/edvard-munch-color-context |access-date=2025-08-04 |website=www.nga.gov |language=en}}</ref>

In April 2019 the [[British Museum]] hosted the exhibition, ''Edvard Munch: Love and Angst'', comprising 83 artworks and including a rare original print of ''The Scream''.<ref>{{Cite web|date=8 April 2019|title=Edvard Munch: Love and Angst review – 'Ripples of trauma hit you like a bomb'|url=http://www.theguardian.com/artanddesign/2019/apr/09/scream-edvard-munch-love-and-angst-review-british-museum|access-date=21 January 2021|website=the Guardian|language=en|archive-date=21 January 2021|archive-url=https://web.archive.org/web/20210121035645/https://www.theguardian.com/artanddesign/2019/apr/09/scream-edvard-munch-love-and-angst-review-british-museum|url-status=live}}</ref>

In May 2022 the [[Courtauld Gallery]] hosted the exhibition, ''Edvard Munch. Masterpieces from Bergen'', showcasing 18 paintings from Norwegian industrialist [[Rasmus Meyer]]'s collection.<ref>{{Cite web |date=29 May 2022 |title=Edvard Munch: Masterpieces from Bergen review – a magical misery tour |url=https://www.theguardian.com/artanddesign/2022/may/29/edvard-munch-masterpieces-from-bergen-courtauld-gallery-london-review-a-magical-misery-tour |access-date=2 October 2022 |website=the Guardian |language=en}}</ref>

In June 2023 the [[Clark Art Institute]] hosted the exhibition ''Edvard Munch: Trembling Earth''. It was the first exhibit in the United States to focus on how Munch used nature to convey deeper meaning in his painting. ''Trembling Earth'' featured more than 75 works, many from the Munch Museum's collection, and over 40 paintings and prints from rarely seen private collections.<ref name=":0">{{Cite web |title=Edvard Munch |url=https://www.clarkart.edu/exhibition/detail/edvard-munch-trembling-earth |access-date=16 June 2023 |website=www.clarkart.edu}}</ref>

In September 2023, the [[Berlinische Galerie]] Museum for Modern Art hosted an exhibition ''Edvard Munch. Magic of the North'' in collaboration with the Munch Museum. The exhibition included around 80 works by Edvard Munch, supplemented by works by other artists who shaped the idea of the north and the modern art scene on the Spree in Berlin at the end of the 19th century.<ref>{{cite web | url=https://berlinischegalerie.de/ausstellungen/vorschau/edvard-munch/ | title=Edvard Munch | date=15 September 2023 }}</ref>

In November 2023, the [[Museum Barberini]] in [[Potsdam]] also hosted an exhibition ''Edvard Munch: Trembling Earth'' in collaboration with the Munch Museum. The exhibition overlapped the Berlinische Galerie exhibition by eight weeks; both exhibitions were under the joint patronage of German President [[Frank-Walter Steinmeier]] and His Majesty [[Harald V|King Harald V]] of Norway. The exhibition included more than 110 loans from other institutions.<ref>{{Cite web |title=Edvard Munch: Trembling Earth|url=https://www.museum-barberini.de/en/ausstellungen/9500/edvard-munch-trembling-earth|access-date=18 November 2023}}</ref>

In 2024, the [[Yale University Art Gallery]] hosted ''Munch and Kirchner: Anxiety and Expression'' which examined the prints of both artists and “…how these artists suffered from—and attempted to cope with—the anxieties of their age.”<ref>{{Cite web |title=Munch and Kirchner: Anxiety and Expression {{!}} Yale University Art Gallery |url=https://artgallery.yale.edu/exhibitions/exhibition/munch-and-kirchner-anxiety-and-expression |access-date=2025-08-10 |website=artgallery.yale.edu |language=en}}</ref>  The exhibit was accompanied by Freyda Spira, with contributions from Allison Morehead, Catherine Woodard, and Nelson Blitz {{ISBN|978-0-300-27585-8}}

In May 2025, Harvard Art Museum hosted ''Edvard Munch: Technically Speaking''.<ref>{{Cite web |last=Harvard |title=Exhibitions, Edvard Munch: Technically Speaking {{!}} Harvard Art Museums |url=https://harvardartmuseums.org/exhibitions/6407/edvard-munch-technically-speaking |access-date=2025-07-04 |website=harvardartmuseums.org |language=en}}</ref><ref>{{Cite web |last=Andersen |first=M. J. |title='Edvard Munch: Technically Speaking' Review: Classic Themes, Vibrant Variations |url=https://www.wsj.com/arts-culture/fine-art/edvard-munch-technically-speaking-review-classic-themes-vibrant-variations-3dc19b98 |access-date=2025-07-04 |website=WSJ |language=en-US}}</ref>  The exhibition features both paintings and prints, many donated by Philip A. and Lynn G. Strauss.<ref>{{Cite web |last=Harvard |title=Press and Media, Harvard Art Museums Receive Transformative Gift of Prints and Paintings by Edvard Munch {{!}} Harvard Art Museums |url=https://harvardartmuseums.org/about/press-media/harvard-art-museums-receive-transformative-gift-of-prints-and-paintings-by-edvard-munch |access-date=2025-07-04 |website=harvardartmuseums.org |language=en}}</ref>  As a s result of their gift, Harvard's collection is the largest collection of Munch's works in the United States.

===University Aula===
[[File:Universitetets Aula (151651).jpg|thumb|upright=1.3|The Aula featuring ''History'' (left), ''The Sun'' (front), ''Alma Mater'' (right), smaller paintings on corners]]
In 1911 the final competition for the decoration of the large walls of the University of Oslo Aula (assembly hall) was held between Munch and [[Emanuel Vigeland]]. The episode is known as the "Aula controversy". In 1914 Munch was finally commissioned to decorate the Aula and the work was completed in 1916. This major work in Norwegian monumental painting includes 11 paintings covering {{cvt|223|m2}}. ''The Sun'', ''History'' and ''Alma Mater'' are the key works in this sequence. Munch declared: "I wanted the decorations to form a complete and independent world of ideas, and I wanted their visual expression to be both distinctively Norwegian and universally human". In 2014 it was suggested that the Aula paintings have a value of at least 500&nbsp;million kroner (approx $111 million USD in 2025).<ref>{{cite web |url=http://www.uio.no/om/kultur/kunst/aulaen/index.html |title=Edvard Munch i Universitetets aula |publisher=[[University of Oslo]] |date=3 January 2013 |access-date=15 November 2014 |archive-date=29 November 2014 |archive-url=https://web.archive.org/web/20141129022118/http://www.uio.no/om/kultur/kunst/aulaen/index.html |url-status=live }}</ref><ref>Universitas, 29 October 2014.{{full citation needed|date=September 2018}}</ref>

=== Looted art controversies ===
In 2007, Munch's ''Summer Night at the Beach'' was returned to the granddaughter of [[Alma Mahler]], who was forced to flee the Nazis with her Jewish husband in March 1938, after Hitler's annexation of Austria.<ref>{{Cite web |title=Munch painting sought |url=https://www.lootedart.com/news.php?r=ML21QY265421 |access-date=30 January 2024 |website=Looted Art}}</ref><ref>{{Cite web |title=Munch painting stolen by Nazis is returned to Mahler heir |url=https://www.lootedart.com/news.php?r=MKP5VR311981 |access-date=30 January 2024 |website=Looted Art}}</ref> In 2008 the Basel Fine Arts Museum rejected a claim for Munch's ''Madonna, a'' lithograph of a nude in black, red and blue'','' from the heirs of the Jewish collector [[Curt Glaser]].<ref>{{Cite web |author=Catherine Hickley |date=28 November 2017 |title=Basel faces pressure to return art once owned by Jewish historian |url=https://www.swissinfo.ch/eng/culture/curt-glaser-family_basel-faces-pressure-to-return-jewish-art/43707456 |access-date=30 January 2024 |website=SWI swissinfo.ch |language=en}}</ref> In 2012 Berlin's Kupferstichkabinett restituted three drawings by Munch to the heirs of Glaser, a Jewish collector forced into exile by the Nazis.<ref>{{Cite web |title=Munch, Kirchner Artworks Return to Jewish Collector's Heirs |url=https://lootedart.com/news.php?r=PRGLVT719731 |access-date=30 January 2024 |website=Looted Art}}</ref> In 2012, a claim for ''The Scream'' from the heirs of [[Hugo Simon (art collector)|Hugo Simon]] was rejected as it went to auction.<ref>{{Cite web |work=The Algemeiner |date=24 October 2012 |title=Lawyer Seeking Return of Nazi Stolen Art: There is Real Prejudice Against Jewish Claimants |url=https://www.algemeiner.com/2012/10/24/lawyer-seeking-return-of-nazi-stolen-art-there-is-real-prejudice-against-jewish-claimants/ |access-date=30 January 2024 |language=en-US}}</ref> In 2023 Munch's ''Dance on the Beach'' was the object of an accord between the Glaser heirs and the heirs of Thomas Olsen, a Norwegian shipowner and Munch's neighbour and collector.<ref>{{Cite web |date=16 January 2023 |title=Another monumental Munch painting once hidden from Nazis in a barn heads to the block |url=https://www.theartnewspaper.com/2023/01/16/another-monumental-munch-painting-once-hidden-from-nazis-in-a-barn-norway-heads-to-the-block |access-date=30 January 2024 |website=The Art Newspaper}}</ref><ref>{{Cite web |date=23 Jan 2023|title=This 13-Foot-Long Munch Painting Was Hidden From the Nazis in a Norwegian Forest|url=https://www.smithsonianmag.com/smart-news/this-massive-edvard-munch-painting-was-hidden-in-a-barn-from-the-nazisnow-its-up-for-auction-180981479/ |website = Smithsonian magazine}}</ref>

==Major works==
[[File:La salle Munch dans lhôtel de ville dOslo (4853547949).jpg|thumb|300px|''Life'' by Munch, at the [[Rådhuset]] (City Hall) in Oslo. The room is called ''The Munch room''.]]
{{main|List of paintings by Edvard Munch}}
* 1885–1886: ''[[The Sick Child (Munch)|The Sick Child]]''
* 1892: ''[[:File:Evening on Karl Johan Street.jpg|Evening on Karl Johan]]''
* 1893: ''[[The Scream]]''
* 1894: ''[[Ashes (Munch)|Ashes]]''
* 1894: ''Despair''
* 1894: ''{{ill|Woman in Three Stages. Sphinx|ru|Три возраста женщины (картина Мунка)}}''
* 1894–1895: ''[[Madonna (Munch)|Madonna]]''
* 1894–1896: ''[[Melancholy (Munch)|Melancholy]]'' 
* 1895: ''[[Puberty (Munch painting)|Puberty]]''
* 1895: ''[[Self-Portrait with Cigarette]]''
* 1895: ''Death in the Sickroom''
* 1899–1900: ''The Dance of Life''
* 1899–1900: ''The Dead Mother''
* 1903: ''Village in Moonlight''
* 1940–1942: ''[[Self-Portrait. Between the Clock and the Bed.]]''

==Selected works==
<gallery widths="140" heights="140" mode="packed">
File:Edvard Munch - Ashes (1895).jpg|''[[Ashes (Munch)|Ashes]]'', 1894, oil on canvas, {{cvt|120.5|×|141|cm|in|frac=4}}. [[National Gallery of Norway|Nasjonalgalleriet]], Oslo
File:Edvard Munch - The dance of life (1899-1900).jpg|alt=The Dance of Life, 1899–1900, oil on canvas, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}126&nbsp;cm × 191&nbsp;cm (49+1⁄2 in × 75 in), Nasjonalgalleriet, Oslo|''[[The Dance of Life (painting)|The Dance of Life]]'', 1899–1900, oil on canvas, {{cvt|49+1/2|×|75|in|cm|0|order=flip}}, [[National Gallery of Norway|Nasjonalgalleriet]], Oslo
File:Edvard Munch - At the Roulette Table in Monte Carlo - Google Art Project.jpg|alt=At the Roulette Table in Monte Carlo, 1892, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}74.5&nbsp;cm × 116&nbsp;cm (29+1⁄4 in × 45+3⁄4 in), Munch Museum, Oslo|''At the Roulette Table in Monte Carlo'', 1892, {{cvt|74.5|×|116|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Death in the Sickroom - Google Art Project.jpg|alt=Death in the Sickroom, 1893, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}134&nbsp;cm × 160&nbsp;cm (52+3⁄4 in × 63 in), Munch Museum, Oslo|''Death in the Sickroom'', 1893, {{cvt|134|×|160|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:'Starry Night' by Edvard Munch, 1893, Getty Center.JPG|alt=Starry Night, 1893, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}135.6&nbsp;cm × 140&nbsp;cm (53+1⁄2 in × 55 in), J. Paul Getty Museum|''[[Starry Night (Munch)|Starry Night]]'', 1893, {{cvt|135.6|×|140|cm|in|frac=4}}, [[J. Paul Getty Museum]]
File:Edvard Munch - Anxiety - Google Art Project.jpg|alt=Anxiety, 1894, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}94&nbsp;cm × 74&nbsp;cm (37 in × 29+1⁄4 in), Munch Museum, Oslo|''[[Anxiety (Munch)|Anxiety]]'', 1894, {{cvt|94|×|74|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Despair Edvard Munch 1894.jpeg|alt=Despair, 1894, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}92&nbsp;cm × 72.5&nbsp;cm (36+1⁄4 in × 28+1⁄2 in), Munch Museum, Oslo|''Despair'', 1894, {{cvt|92|x|72.5|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Vampire (1895) - Google Art Project.jpg|alt=Love and Pain (Vampire), 1895, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}91&nbsp;cm × 109&nbsp;cm (35+3⁄4 in × 43 in), Munch Museum, Oslo|''[[Vampire (Munch)|Love and Pain (Vampire)]]'', 1895, {{cvt|91|×|109|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Munch deathSickroom.jpg|''Death in the Sickroom'', {{circa|1895}}, oil on canvas, {{cvt|59|×|66|in|cm|0|order=flip}}, [[National Gallery (Norway)|Nasjonalgalleriet]], Oslo
File:Edvard Munch - Separation - Google Art Project.jpg|alt=Separation, 1896, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}96&nbsp;cm × 127&nbsp;cm (37+3⁄4 in × 50 in), Munch Museum, Oslo|''Separation'', 1896, {{cvt|96|×|127|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - The Voice , Summer Night - Google Art Project.jpg|alt=The Voice / Summer Night, 1896, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}90&nbsp;cm × 119&nbsp;cm (35+1⁄2 in × 46+3⁄4 in), Munch Museum, Oslo|''The Voice / Summer Night'', 1896, {{cvt|90|×|119|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Red and White - Google Art Project.jpg|alt=Red and White, 1899–1900, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}93&nbsp;cm × 129&nbsp;cm (36+1⁄2 in × 50+3⁄4 in), Munch Museum, Oslo|''Red and White'', 1899–1900, {{cvt|93|×|129|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Golgotha (1900).jpg|''Golgotha'', 1900, oil on canvas, [[Munch Museum]], Oslo
File:Edvard Munch - Kiss IV - Google Art Project.jpg|alt=Kiss IV, 1902, woodcut print on wood, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}47&nbsp;cm × 47&nbsp;cm (18+1⁄2 in × 18+1⁄2 in), Munch Museum, Oslo|''Kiss IV'', 1902, woodcut print on wood, {{cvt|47|×|47|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Four Girls in Åsgårdstrand - Google Art Project.jpg|alt=Four Girls in Åsgårdstrand, 1903, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}87&nbsp;cm × 111&nbsp;cm (34+1⁄4 in × 43+3⁄4 in), Munch Museum, Oslo|''Four Girls in Åsgårdstrand'', 1903, {{cvt|87|×|111|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Two Human Beings (The Lonely Ones) (1905).jpg|''[[Two Human Beings. The Lonely Ones]]'', 1905, oil on canvas, {{cvt|81.3|×|111.5|cm|in|frac=4}}, Busch-Reisinger Museum, Cambridge, Massachusetts
File:Edvard Munch - The Brooch. Eva Mudocci - Google Art Project.jpg|''The Brooch, Eva Mudocci'', 1903, lithograph print on paper, {{cvt|76|×|53.2|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Friederich Nietzsche.jpg|''Portrait of [[Friedrich Nietzsche]]'', 1906, [[Thiel Gallery]], Stockholm
File:Edvard Munch - Jealousy - Google Art Project.jpg|alt=Jealousy, 1907, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}75&nbsp;cm × 98&nbsp;cm (29+1⁄2 in × 38+1⁄2 in), Munch Museum, Oslo|''Jealousy'', 1907, {{cvt|75|×|98|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - The Sun - Google Art Project.jpg|alt=The Sun, 1910–1911, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}450&nbsp;cm × 772&nbsp;cm (177+1⁄4 in × 304 in), Munch Museum, Oslo|''The Sun'', 1910–1911, {{cvt|450|×|772|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Galloping Horse - Google Art Project.jpg|alt=Galloping Horse, 1910–12, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}148&nbsp;cm × 120&nbsp;cm (58+1⁄4 in × 47+1⁄4 in), Munch Museum, Oslo|''Galloping Horse'', 1910–12, {{cvt|148|×|120|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - The Yellow Log - Google Art Project.jpg|alt=The Yellow Log, 1912, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}129.5&nbsp;cm × 159.5&nbsp;cm (51 in × 62+3⁄4 in), Munch Museum, Oslo|''The Yellow Log'', 1912, {{cvt|129.5|×|159.5|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Workers on their Way Home - Google Art Project.jpg|alt=Workers on their Way Home, 1913–14, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}227&nbsp;cm × 201&nbsp;cm (89+1⁄4 in × 79+1⁄4 in), Munch Museum, Oslo|''Workers on their Way Home'', 1913–14, {{cvt|227|×|201|cm|in|frac=4}}, [[Munch Museum]], Oslo
</gallery>

=== Nudes ===
<gallery mode="packed" heights="160">
File:Edvard Munch - The Hands (1893).jpg|''The Hands'', 1893, oil on canvas, 91 x 77&nbsp;cm, [[Munch Museum]], Oslo
File:Puberty (1894-95) by Edvard Munch.jpg|''[[Puberty (Munch)|Puberty]]'', 1894–1895, oil on canvas, 151.5 x 110&nbsp;cm, [[National Gallery (Norway)]]
File:Edvard Munch, Lady from the sea.jpg|alt=Lady From the Sea (detail), 1896, oil on canvas. .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}100&nbsp;cm × 320&nbsp;cm (39+1⁄2 in × 126 in)|''Lady From the Sea'' (detail), 1896, oil on canvas. {{cvt|39+1/2|×|126|in|cm|0|order=flip}}
File:Edvard Munch - Metabolism - Google Art Project.jpg|alt=Metabolism, 1898–1899, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}172&nbsp;cm × 142&nbsp;cm (67+3⁄4 in × 56 in), Munch Museum, Oslo|''Metabolism'', 1898–1899, {{cvt|172|×|142|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:MunchDerToddesMarat1907.JPG|''The Death of Marat'' 1907, 150 x 199&nbsp;cm, [[Munch Museum]], Oslo
File:Edvard Munch - Bathing Men (Ateneum).jpg|''Bathing Men'', 1907–1908, oil on canvas, 206 x 227.5&nbsp;cm, [[Ateneum]], [[Helsinki]]
File:Edvard Munch, Gråtende kvinne.JPG|''Weeping Woman'', 1907–1909, oil on canvas, private collection
File:'Morning Yawn' by Edvard Munch, 1913, Bergen Kunstmuseum.JPG|''[[Morning Yawn]]'', 1913, oil on canvas, 108 × 98&nbsp;cm, Art Museums of Bergen
File:Edvard Munch - Weeping Nude - Google Art Project.jpg|alt=Weeping Nude, 1913–1914, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}110&nbsp;cm × 135&nbsp;cm (43+1⁄4 in × 53+1⁄4 in), Munch Museum, Oslo|''Weeping Nude'', 1913–1914, {{cvt|110|×|135|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Model by the Wicker Chair.jpeg|''[[Model by the Wicker Chair]]'', 1919–1921, oil on canvas, 122.5 × 100&nbsp;cm, [[Munch Museum]], Oslo
</gallery>

===Self-portraits===
==== See also: [[Self-portraiture]] ====
<gallery widths="140" heights="160" mode="packed">
File:Edvard Munch - Self-Portrait - Google Art Project (533070).jpg|alt=Self-Portrait, 1882, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}26&nbsp;cm × 19&nbsp;cm (10+1⁄4 in × 7+1⁄2 in), Munch Museum, Oslo|''Self-Portrait'', 1882, {{cvt|26|×|19|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait in Hell - Google Art Project.jpg|alt=Self-Portrait in Hell, 1903, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}82&nbsp;cm × 66&nbsp;cm (32+1⁄4 in × 26 in), Munch Museum, Oslo|''Self-Portrait in Hell'', 1903, {{cvt|82|×|66|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait with Brushes - Google Art Project.jpg|alt=Self-Portrait with Brushes, 1904, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}197&nbsp;cm × 91&nbsp;cm (77+1⁄2 in × 35+3⁄4 in), Munch Museum, Oslo|''Self-Portrait with Brushes'', 1904, {{cvt|197|×|91|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait with a Bottle of Wine - Google Art Project.jpg|alt=Self-Portrait with a Bottle of Wine, 1906, .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}110&nbsp;cm × 120&nbsp;cm (43+1⁄4 in × 47+1⁄4 in), Munch Museum, Oslo|''Self-Portrait with a Bottle of Wine'', 1906, {{cvt|110|×|120|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait with the Spanish Flu (1919).jpg|''Self-Portrait with the Spanish Flu'', 1919, oil on canvas, 150 x 131&nbsp;cm, [[National Gallery (Norway)]]
File:Edvard Munch, Selvportrett. Mellom klokken og sengen.JPG|''[[Self-Portrait. Between the Clock and the Bed.]]'' c. 1940–1943, [[Munch Museum]], Oslo
</gallery>

===Landscapes===
<gallery widths="140" heights="140" mode="packed">
File:SmallLakewithBoatMunch.jpg|''Small Lake with Boat'', 1880, oil on paper on board, 12 x 18&nbsp;cm, [[Munch Museum]], Oslo
File:Edvard Munch - From Sandviken (c. 1882).jpg|''From Sandviken'', {{circa|1882}}, oil on cardboard, 20 x 25&nbsp;cm, Flaten Art Museum
File:Fra Saxegårdsgate - Edvard Munch.jpg|''From Saxegårdsgate'', {{circa|1882}}, oil on canvas, [[Lillehammer Art Museum]], Lillehammer
File:Sketch for 'Ashes' by Edvard Munch, Bergen Kunstmuseum.JPG|''Sketch for 'Ashes' '', 1894, oil on canvas, Bergen Kunstmuseum
File:Edvard Munch - Train Smoke - Google Art Project.jpg|''Train Smoke'', 1900, {{cvt|84|×|109|cm|in|frac=4}}, [[Munch Museum]], Oslo
File:Edvard Munch - Shore with Red House - Google Art Project.jpg|''Shore with Red House'', 1904, oil on canvas, 69 × 109&nbsp;cm, [[Munch Museum]], Oslo
File:Edvard Munch, 1918, Coastal Landscape, oil on canvas, 120.9 x 160 cm, Kunstmuseum Basel.jpg|''Landscape at the Sea'', 1918, oil on canvas, 120.9 x 160, [[Kunstmuseum Basel]]
File:Edvard Munch, 1922, Starry Night, Munch Museum, Oslo.jpg|''Starry Night'', 1922–1924, oil on canvas, 120.5 x 100&nbsp;cm, [[Munch Museum]], Oslo
File:'Winter Night, Ekely' by Edvard Munch, 1930-31.JPG|''Winter Night, Ekely'', 1930–1931, oil on canvas
</gallery>

===Photographs===
<gallery widths="140" heights="140" mode="packed">
File:Edvard Munch - Self-Portrait at 53 Am Strom in Warnemünde - Google Art Project (cropped).jpg|''Self-Portrait at 53 Am Strom in Warnemünde'', 1907, [[Munch Museum]], Oslo
File:Edvard Munch - Edvard Munch at the Beach in Warnemünde - Google Art Project.jpg|''Edvard Munch at the Beach in Warnemünde'', 1907, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait “à la Marat” - Google Art Project.jpg|''Self-Portrait "à la Marat"'', 1908–09, [[Munch Museum]], Oslo
File:Edvard Munch - Self-Portrait Somewhere on the Continent I - Google Art Project.jpg|''Self-Portrait Somewhere on the Continent I'', 1906, [[Munch Museum]], Oslo
File:Portrett av Edvard Munch, 26 år gammel.jpg|Portrait at 26 years
File:Portrait photographique dEdvard Munch (4865295519).jpg|Portrait of Edvard Munch 1902
File:Portrett av Edvard Munch.jpg|Portrait of Edvard Munch
File:Edvard Munch 1912.jpg|Munch in 1912
File:Edvard Munch - Rosa Meissner at the Hotel Rohn in Warnemünde - Google Art Project.jpg|''Rosa Meissner at the Hotel Rohn in Warnemünde'', 1907, photograph, [[Munch Museum]], Oslo
</gallery>

==See also==
* ''[[Edvard Munch (film)|Edvard Munch]]'', a 1974 biographical film
* [[List of claims for restitution for Nazi-looted art]]

==Notes==
{{notelist|refs=
{{efn|name=NIH20163|{{cite web |title=Borderline Personality Disorder |url=https://www.nimh.nih.gov/health/topics/borderline-personality-disorder |url-status=live |archive-url=https://web.archive.org/web/20160322130612/http://www.nimh.nih.gov/health/topics/borderline-personality-disorder/index.shtml |archive-date=22 March 2016 |access-date=16 March 2016 |website=NIMH}}}}

}}

==References==

===Citations===
{{Reflist|2|refs=
<ref name="TaurisBlog">{{cite web |url=http://theibtaurisblog.com/2012/08/06/the-graphic-works-and-prints-of-edvard-munch/ |title=The Graphic Works and Prints of Edvard Munch |website=I. B. Tauris Blog |date=6 August 2012 |access-date=11 January 2016 |archive-date=13 January 2016 |archive-url=https://web.archive.org/web/20160113004242/http://theibtaurisblog.com/2012/08/06/the-graphic-works-and-prints-of-edvard-munch/ |url-status=live }}</ref>
<ref name="KODE">{{cite web |url=http://kodebergen.no/en/exhibitions/nikolai-astrup |title=Nikolai Astrup |website=KODE |publisher=Art Museums of Bergen. |date=11 January 2016 |access-date=11 January 2016 |archive-date=4 March 2016 |archive-url=https://web.archive.org/web/20160304141514/http://kodebergen.no/en/exhibitions/nikolai-astrup |url-status=live }}</ref>
<ref name="YT">{{YouTube|id=37eQXuinlwA|title=Crown Princess Mette-Marit opens Munch exhibition}}. 11 February 2012. Retrieved 16 June 2013.</ref>
}}

=== General sources ===
{{refbegin|2|indent=yes}}
*{{cite book|title=Edvard Munch: The Life of a Person with Borderline Personality as Seen Through His Art|trans-title=Edvard Munch, et livsløb af en grænsepersonlighed forstået gennem hans billeder|isbn=978-8798352419| last = Aarkrog |first=T |year=1990|publisher=Lundbeck Pharma A/S|location=Danmark}}
* {{cite book |last=Altern |first=Arne |date=1961 |entry=Tanker omkring et nedrevet hus |title=St. Hallvard}}
* {{cite book |editor-last=Berman |editor-first=Patricia G. |date=1986 |title=Edvard Munch: Mirror Reflections |location=West Palm Beach, FL |publisher=Norton Gallery & School of Art |oclc=757178143}}
* {{cite book |last=Bernau |first=Nikolaus |entry=Wo hing Munchs ''Lebens-Fries''? Zu dem Bau der Kammerspiele und ihrem berühmtesten Schmuck |editor1-first=Roland |editor1-last=Koberg |editor2-first=Bernd |editor2-last=Stegemann |editor3-first=Henrike |editor3-last=Thomsen |title=Blätter des Deutschen Theaters |publisher=Max Reinhard, Das Deutsche Theater |location=Berlin |date=2005 }}
* {{cite book |last=Bischoff |first=Ulrich |url=https://books.google.com/books?id=ETahibk334cC&pg=PA43 |title=Edvard Munch: 1863–1944 |publisher=Taschen |date=2000 |isbn=3-8228-5971-0 |access-date=28 December 2019 |archive-date=24 October 2021 |archive-url=https://web.archive.org/web/20211024182555/https://books.google.com/books?id=ETahibk334cC&pg=PA43 |url-status=live}}
* {{cite book |last=Chipp |first=Herschel B. |title=Theories of Modern Art: A Source Book by Artists and Critics |url=https://archive.org/details/theoriesofmodern00chip |url-access=registration |year=1968 |publisher=[[University of California Press]] |location=Berkeley, CA |isbn=0-520-05256-0 |page=[https://archive.org/details/theoriesofmodern00chip/page/114 114]}}
* {{cite book |last=Eggum |first=Arne |title=Edvard Munch: Paintings, Sketches, and Studies |url=https://books.google.com/books?id=bxjqAAAAMAAJ |editor-last=Munch |editor-first=Edvard |publisher=[[C.N. Potter]] |location=New York, NY |year=1984 |pages=305 |isbn=0-517-55617-0 |access-date=20 August 2019 |archive-date=4 June 2021 |archive-url=https://web.archive.org/web/20210604012837/https://books.google.com/books?id=bxjqAAAAMAAJ |url-status=live }}
* {{cite book |last=Faerna |first=José María |title=Munch |publisher=Harry N. Abrams |location=New York, NY |year=1995 |isbn=0-8109-4694-7 |page=[https://archive.org/details/munch00munc/page/16 16] |url-access=registration |url=https://archive.org/details/munch00munc/page/16 }}
* {{cite book |last=Gerner |first=Cornelia |title=Die "Madonna" in Edvard Munchs Werk – Frauenbilder und Frauenbild im ausgehenden 19. Jahrhundert |publisher=Knut Brynhildsvoll, Literaturverlag Norden Mark Reinhard, Morsbach |date=1993 |isbn=978-3-927153-40-0}}
* {{cite news |last=Gibbs |first=Walter |date=10 March 2005 |title=Arts, Briefly; Munch Theft Confessions |work=The New York Times |url=https://www.nytimes.com/2005/03/10/arts/arts-briefly-munch-theft-confessions.html |access-date=4 March 2010 |archive-date=22 June 2011 |archive-url=https://web.archive.org/web/20110622003854/http://query.nytimes.com/gst/fullpage.html?res=9D03EFD7163CF933A25750C0A9639C8B63 |url-status=live }}
* {{cite news |last=Jones |first=Jonathan |date=12 November 2013 |title=Why Francis Bacon Deserves to Beat The Scream's record-breaking Pricetag |url=https://www.theguardian.com/artanddesign/2013/nov/12/francis-bacon-triptych-lucian-freud-auction |access-date=18 May 2014 |newspaper=the Guardian |archive-date=12 October 2014 |archive-url=https://web.archive.org/web/20141012230252/http://www.theguardian.com/artanddesign/2013/nov/12/francis-bacon-triptych-lucian-freud-auction |url-status=live}}
* {{cite book |editor-last=MacDonald |editor-first=Margaret F. |year=2003 |title=Whistler's Mother: An American Icon |url=https://archive.org/details/whistlersmothera0000unse |url-access=registration |location=Burlington, VT |publisher=Lund Humphries |isbn=0-85331-856-5}}
* {{cite book |last=Morehead |first=Allison |chapter=Hands, Dissection, and Embodied Seeing: Strindberg and Munch |date=2019 |title=August Strindberg and Visual Culture: The Emergence of Optical Modernity in Image, Text and Theatre |publisher=Bloomsbury |isbn=978-1-5013-3800-7 |editor1-first=Jonathan |editor1-last=Schroeder |editor2-first=Anna |editor2-last=Westerstahl Stenport |editor3-first=Eszter |editor3-last=Szalczer |doi=10.5040/9781501338038.ch-002 |s2cid=192530363}}
* {{cite book |first=Edvard |last=Munch |editor-last=Holland |editor-first=J. Gill |year=2005 |title=The Private Journals of Edvard Munch: We Are Flames Which Pour Out of the Earth |publisher=University of Wisconsin Press |location=Madison, WI |isbn=0-299-19814-6}}
* {{cite book |last=O'Neill |first=Amanda |title=The Life and Works of Munch |publisher=Parragon Book Service |location=Bristol |year=1996 |isbn=0-7525-1690-6 }}
* {{cite book |last=Prideaux |first=Sue |title=Edvard Munch: Behind the Scream |year=2005 |publisher=Yale University Press |location=New Haven, CT |isbn=978-0-300-12401-9 |author-link=Sue Prideaux |url=https://archive.org/details/edvardmunchbehin00prid |url-access=registration}}
* {{cite book |last=Thiis |first=Jens |author-link=Jens Thiis |title=Edvard Munch og hans samtid. Slekten, livet og kunsten, geniet |url=https://books.google.com/books?id=u3BHAQAAIAAJ |year=1933 |publisher=Gyldendal |location=Oslo |oclc=637507959 |access-date=12 September 2019 |archive-date=1 August 2020 |archive-url=https://web.archive.org/web/20200801100739/https://books.google.com/books?id=u3BHAQAAIAAJ |url-status=live}}
* {{cite book |last1=Thompson |first1=J. William |title=Sustainable Landscape Construction: A Guide to Green Building Outdoors |year=2008 |publisher=Island Press |edition=2nd |location=Washington, DC |isbn=978-1-59726-142-5 |last2=Sorvig |first2=Kim}}
* {{Cite news |last=Thorpe |first=Vanessa |date=7 April 2019 |title=Edvard Munch 'reunited' with fiancée for British Museum show |url=https://www.theguardian.com/artanddesign/2019/apr/07/edvard-munch-portrait-fiance-british-museum |work=The Observer |access-date=8 April 2019 |language=en-GB |issn=0029-7712 |archive-date=7 April 2019 |archive-url=https://web.archive.org/web/20190407232941/https://www.theguardian.com/artanddesign/2019/apr/07/edvard-munch-portrait-fiance-british-museum |url-status=live}}
* {{cite news |first=Carol |last=Vogel |date=17 September 2012 |title=Munch's 'Scream' to Hang for Six Months at MoMA |url=https://www.nytimes.com/2012/09/18/arts/design/munchs-scream-to-hang-for-six-months-at-moma.html |archive-url=https://web.archive.org/web/20161223235533/http://www.nytimes.com/2012/09/18/arts/design/munchs-scream-to-hang-for-six-months-at-moma.html?hpw |url-status=live |work=The New York Times |access-date=15 February 2017 |archive-date=23 December 2016}}
* {{cite book |last=Wells |first=John |author-link=John C. Wells |date=2008 |title=Longman Pronunciation Dictionary |publisher=Pearson Longman |edition=3rd |isbn=978-1-4058-8118-0}}
*{{cite journal | last = Wylie |first=H.W. | title = Edvard Munch | journal = The American Imago; A Psychoanalytic Journal for the Arts and Sciences | volume = 37 | issue = 4 | pages = 413–443 | year = 1980 | pmid = 7008567 | url = https://www.jstor.org/stable/26303797 | publisher = [[Johns Hopkins University Press]] | jstor = 26303797 }}
{{refend}}

== Further reading ==
{{refbegin|2|indent=yes}}
* {{cite book|editor1-last=Black|editor1-first=Peter|editor2-last=Bruteig|editor2-first=Magne |title=Edvard Munch: Prints|year=2009|publisher=Philip Wilson|location=London|isbn=978-0-85667-677-2}} Catalogue of exhibition at the Hunterian Museum and Art Gallery, University of Glasgow and the National Gallery of Ireland, Dublin.
* {{cite journal|last=Clarke |first=Jay |date=2014 |title=Munch on Paper |journal=Print Quarterly |volume=31 |pages=237–243}}
* {{cite book|last=Dolnick|first=Edward|title=The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece|year=2005|publisher=HarperCollins Publishers|location=New York, NY|isbn=0-06-053118-5|author-link=Edward Dolnick}} Recounts the 1994 theft of ''The Scream'' from Norway's National Gallery in Oslo, and its eventual recovery
* {{cite book|title=Munch: His Life and Work|year=1984|publisher=Murray|location=London|editor-last=Heller|editor1-first=Reinhold|isbn=0-7195-4116-6}}
* {{cite news |last1=Kerr |first1=Caroline V. |author-link1=Caroline V. Kerr |author-link2= |author-link3= |author-link4= |author-link5= |display-authors= |author-mask= |name-list-style= |orig-date= |title=Edvard Munch: Exhibition of His Work in Berlin Reveals Three Periods |script-title= |trans-title= |url=https://timesmachine.nytimes.com/timesmachine/1927/04/17/106922152.html?pageNumber=173 |format= |editor1-last= |editor1-first= |editor1-link= |editor2-last= |editor2-first= |editor2-link= |editor3-last= |editor3-first= |editor3-link= |editor4-last= |editor4-first= |editor4-link= |editor5-last= |editor5-first= |editor5-link= |display-editors= |department= |work=[[The New York Times]]|type= |series= |language=English |volume= |issue= |edition= |location= |publication-date=17 April 1927 |agency= |page=173 |no-pp= |arxiv= |asin= |bibcode= |doi= |isbn= |issn= |jfm= |jstor= |lccn= |mr= |oclc= |ol= |osti= |pmc= |pmid= |rfc= |ssrn= |zbl= |id= |access-date=10 August 2024 |via= |url-access= |quote= |trans-quote= }}
* {{cite journal|last=Morehead |first=Allison |date=2014 |title=Lithographic and Biological Error in Edvard Munch's ''Women in the Hospital'' |journal=Print Quarterly |volume=31 |pages=308–315}}
* {{cite book|last=Schiefler|first=Gustav|title=Verzeichnis des Graphischen Werks Edvard Munchs bis 1906|url=https://archive.org/details/gri_33125010866610|year=1907|publisher=B. Cassirer|location=Berlin|oclc=39789318|language=de}}
* {{cite book|last=Schiefler|first=Gustav|title=Das Graphische Werk von Edvard Munch: 1906–1926|year=1927|publisher=Euphorion Verlag|location=Berlin|oclc=638113186|language=de}}
* {{cite book|last=Woll|first=Gerd|title=Edvard Munch: Complete Paintings: Catalogue Raisonné|year=2009|publisher=Thames & Hudson|location=London|isbn=978-0-500-09345-0|volume=4}}
{{refend}}

==External links==
{{Commons}}
{{Wikiquote}}
* {{MoMA artist|4164}}
* [http://www.thehindu.com/opinion/op-ed/oslo-goes-high-on-old-munch/article4775730.ece Oslo goes high on Old Munch]
* [http://abcgallery.com/M/munch/munch.html Munch at Olga's Gallery] {{Webarchive|url=https://web.archive.org/web/20070831104129/http://www.abcgallery.com/M/munch/munch.html |date=31 August 2007 }}—large online collection of Munch's works (over 200 paintings)
* [http://www.artcyclopedia.com/artists/munch_edvard.html Munch at artcyclopedia]
* [http://www.wikigallery.org/wiki/artist36535/Edvard-Munch/page-1 Edvard Munch at WikiGallery.org]
* [http://www.moreeuw.com/histoire-art/exposition-munch-pompidou.htm Exhibition "Edvard Munch L'oeil moderne"—Centre Pompidou, Paris 2011] {{Webarchive|url=https://web.archive.org/web/20210420045040/http://www.moreeuw.com/histoire-art/exposition-munch-pompidou.htm |date=20 April 2021 }}
* [http://samling.nasjonalmuseet.no/en/folder/34 Edvard Munch at Norway's National Museum of Art, Architecture and Design] {{Webarchive|url=https://web.archive.org/web/20190325040146/http://samling.nasjonalmuseet.no/en/folder/34 |date=25 March 2019 }}
* [https://harvardartmuseums.org/collections?q=edvard+munch&load_amount=12&offset=0 Edvard Munch] at Harvard Art Museum
* [https://www.nga.gov/artists/5058-edvard-munch Edvard Munch] at the National Gallery of Art
* [https://www.metmuseum.org/art/collection/search?q=edvard+munch Edvard Munch] at the [[Metropolitan Museum of Art]]

{{Edvard Munch}}
{{Post-Impressionism}}
{{Authority control (arts)}}

{{DEFAULTSORT:Munch, Edvard}}
[[Category:Edvard Munch| ]]
[[Category:1863 births]]
[[Category:1944 deaths]]
[[Category:19th-century Norwegian male artists]]
[[Category:19th-century Norwegian painters]]
[[Category:20th-century male artists]]
[[Category:20th-century Norwegian painters]]
[[Category:Art Nouveau painters]]
[[Category:Burials at the Cemetery of Our Saviour]]
[[Category:Expressionist painters]]
[[Category:Norwegian male painters]]
[[Category:People from Løten Municipality]]
[[Category:Symbolist painters]]
[[Category:Pastel artists]]