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Auction archive: Lot number 3

EDVARD MUNCH

Estimate
£80,000 - £120,000
ca. US$104,682 - US$157,023
Price realised:
£390,900
ca. US$511,505
Auction archive: Lot number 3

EDVARD MUNCH

Estimate
£80,000 - £120,000
ca. US$104,682 - US$157,023
Price realised:
£390,900
ca. US$511,505
Beschreibung:

EDVARD MUNCH (1863-1944)Figurer ved Seinen i Saint-Cloud signed with the artist's initials and dated 'EM. 90' (lower right) pastel on paper 30.2 x 35cm (11 7/8 x 13 3/4in). Executed in 1890 FootnotesThis work is recorded in the archives of the Munch Museet, Oslo. Provenance Antonine G. Melet Collection, Paris, no. 2 (possibly acquired from the artist in January 1890). Private collection, Nice. Private collection, Paris (acquired from the above in April 1988). 'Munch writes poetry with colour. He has taught himself to see the full potential of colour in art... His use of colour is above all lyrical. He feels colours and he reveals his feelings through colours; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.' – Sigbjørn Obstfelder, 1893 Few names in the history of modern art conjure quite such immediately visceral imagery as that of Edvard Munch Globally renowned for his pictorial expression of existential dread, depicted in arguably one of the most famous images of art history, as well as his intensely probing and self-scrutinising self-portraits, Munch experienced some of the most revolutionary social and artistic moments of the late 19th and early 20th Centuries. Though his personal life was plagued from the outset by tragedy, grief and mental anguish, Munch became a leading figure in the breakthrough artistic movements of the period and, contrary to the reclusive nature he embodied, was soon revered as one of the greatest artists of his time. The traditional and strictly conservative society of late nineteenth century Europe was the perfect kindling for the liberating Bohemian ideologies that began to murmur throughout many of the small cafés and quasi-underground drinking houses of the European artist quarters. Whilst Paris and Berlin are perhaps most widely known for this cultural phenomenon, the monumental societal shift in Kristiania – as Oslo was known as from 1877-1925 – was possibly even more extreme; the intellectual readjustment hit the Scandinavian regions particularly aggressively, as Ragna Stang writes: 'the movement was met with such single-minded and relentless hostility that what elsewhere had been a few gentle ripples on the surface of society, in Norway became a full-scale storm, a life and death struggle in some circles that had far-reaching effects; social, political, and, above all, artistic and intellectual' (R. Stang, Edvard Munch The man and his art, Milan, 1979, p. 45). Artists and writers flooded to Paris during the early 1880s before returning home, brimming with not just new theoretical, philosophical and artistic ideas, but with a newfound appreciation for Continental life, with its café society, Parisian brothels and cosmopolitan people. This threatened the middle-class population of the Scandinavian capital which functioned under the stern ideals of the Lutheran Church and was deeply insular. Munch was exposed to this staunchly pious sentiment through his father, an unaccomplished doctor whose devoutness was only exacerbated by the painfully early loss of his wife Laura and daughter Sophie to tuberculosis, driving him to an almost manic-like state of piety. Illness did not escape the artist himself who was sickly throughout his childhood, forcing much of his formative education to take place at his impoverished home. He swiftly grew apart from his father's beliefs and found himself a shy, reclusive outsider. Ultimately, the opportune rise of Bohemianism in Kristiania drew in the impressionable young man and he began his involvement with the bohemian fraternities in the autumn of 1882, setting his sights on the 'modern' metropolis of Paris. 'People will be able to see ... that my philosophy of life and my spiritual art had their beginnings during my Bohemian period in the middle and end of the 1880s, and developed even more during my stay in Paris in 1889' (Munch to Ragnar Hoppe in 1929, quoted in ib

Auction archive: Lot number 3
Auction:
Datum:
7 Apr 2022
Auction house:
Bonhams London
7 April 2022 | London, New Bond Street
Beschreibung:

EDVARD MUNCH (1863-1944)Figurer ved Seinen i Saint-Cloud signed with the artist's initials and dated 'EM. 90' (lower right) pastel on paper 30.2 x 35cm (11 7/8 x 13 3/4in). Executed in 1890 FootnotesThis work is recorded in the archives of the Munch Museet, Oslo. Provenance Antonine G. Melet Collection, Paris, no. 2 (possibly acquired from the artist in January 1890). Private collection, Nice. Private collection, Paris (acquired from the above in April 1988). 'Munch writes poetry with colour. He has taught himself to see the full potential of colour in art... His use of colour is above all lyrical. He feels colours and he reveals his feelings through colours; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.' – Sigbjørn Obstfelder, 1893 Few names in the history of modern art conjure quite such immediately visceral imagery as that of Edvard Munch Globally renowned for his pictorial expression of existential dread, depicted in arguably one of the most famous images of art history, as well as his intensely probing and self-scrutinising self-portraits, Munch experienced some of the most revolutionary social and artistic moments of the late 19th and early 20th Centuries. Though his personal life was plagued from the outset by tragedy, grief and mental anguish, Munch became a leading figure in the breakthrough artistic movements of the period and, contrary to the reclusive nature he embodied, was soon revered as one of the greatest artists of his time. The traditional and strictly conservative society of late nineteenth century Europe was the perfect kindling for the liberating Bohemian ideologies that began to murmur throughout many of the small cafés and quasi-underground drinking houses of the European artist quarters. Whilst Paris and Berlin are perhaps most widely known for this cultural phenomenon, the monumental societal shift in Kristiania – as Oslo was known as from 1877-1925 – was possibly even more extreme; the intellectual readjustment hit the Scandinavian regions particularly aggressively, as Ragna Stang writes: 'the movement was met with such single-minded and relentless hostility that what elsewhere had been a few gentle ripples on the surface of society, in Norway became a full-scale storm, a life and death struggle in some circles that had far-reaching effects; social, political, and, above all, artistic and intellectual' (R. Stang, Edvard Munch The man and his art, Milan, 1979, p. 45). Artists and writers flooded to Paris during the early 1880s before returning home, brimming with not just new theoretical, philosophical and artistic ideas, but with a newfound appreciation for Continental life, with its café society, Parisian brothels and cosmopolitan people. This threatened the middle-class population of the Scandinavian capital which functioned under the stern ideals of the Lutheran Church and was deeply insular. Munch was exposed to this staunchly pious sentiment through his father, an unaccomplished doctor whose devoutness was only exacerbated by the painfully early loss of his wife Laura and daughter Sophie to tuberculosis, driving him to an almost manic-like state of piety. Illness did not escape the artist himself who was sickly throughout his childhood, forcing much of his formative education to take place at his impoverished home. He swiftly grew apart from his father's beliefs and found himself a shy, reclusive outsider. Ultimately, the opportune rise of Bohemianism in Kristiania drew in the impressionable young man and he began his involvement with the bohemian fraternities in the autumn of 1882, setting his sights on the 'modern' metropolis of Paris. 'People will be able to see ... that my philosophy of life and my spiritual art had their beginnings during my Bohemian period in the middle and end of the 1880s, and developed even more during my stay in Paris in 1889' (Munch to Ragnar Hoppe in 1929, quoted in ib

Auction archive: Lot number 3
Auction:
Datum:
7 Apr 2022
Auction house:
Bonhams London
7 April 2022 | London, New Bond Street
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