Edvard Munch

The jarring emptiness following the loss of a loved one, the expansive out-of-body sensation of sensual touch, the lassitude of melancholy and the ecstatic receptivity to sunshine. His ability to capture and convey sensation and feelings through the materials of art, places the Norwegian artist Edvard Munch (18631944) at the forefront of European art at the turn of the last century. Interestingly, Munchs artistic exploration of perception, and his persistent questioning of the objectivity of vision, intersect with ideas that matured within the fields of psychology and experimental optics at the time. Edvard Munch: Inner Fire examines these connections, demonstrating his continuing exploration of the conditions of sight. The essays in this catalogue examine this phenomenon while also probing a lesser-known aspect of the artists work: Munchs relationship to Italy. The first essay, Lasse Jacobsens Edvard Munch. Italian Impressions, explores this connection explicitly, as part of a general overview of Munchs life and work. The second text, Reflections in Munchs Inner Eye by Patricia G. Berman, charts the art historical context of Munchs exploration of experiences subjective dimension. Emil Leth Meilvangs Seeing without Sight. Munchs Vision, on its part, explores the relationship between Munchs artistic development and simultaneous developments within the perceptual sciences. Edvard Munch. Inner Fire includes essayistic pieces by authors Melania G. Mazzucco and Hanne rstavik: I am a Romantic and Who Am I. Each demonstrates Munchs continuing ability to light the inner fires of other artists.