The National Museum of Norway announced the discovery of underdrawings hidden beneath the surface of their Edvard Munch painting, “Madonna.”
The curious inscription has puzzled art historians for decades, some of whom speculated it was an act of vandalism.
What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
Scientists say “The Scream” is fading due to human breath. With museums around the world closed, the painting is getting some much needed social distance.
From Albrecht Dürer to LaToya Ruby Frazier, artists have for centuries depicted and reflected on health and illness.
What remains unspoken in the British Museum’s Love and Angst is the ways Munch’s dark emotions frequently came to target the women in his life.
Knausgaard’s monomaniacal excavation of the self and soul probably finds its closest counterpart in the work of Munch, his countryman.
The Munch Museum in Oslo digitized not only its own holdings of Munch’s works on paper, but also those from other museums and private collections.
Munch’s photographs exhibit an unfinished playfulness with technical manipulation and subject matter that is not as readily seen in his more well-known work.
Munch absorbed avant-garde styles but never became an avant-garde artist.
An exhibition at the San Francisco Museum of Modern Art illustrates how, over time, Munch moved away from observational painting toward something more symbolic and emotional.
Oslo’s Munch Museum and an “award winning Photoshop brush maker” teamed up to create a set of digital brushes based on seven real ones that Munch used.