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Edvard Munch: Beyond The Scream

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Active alone on his estate outside Oslo for the last 27 years of his life, increasingly revered and all the time more isolated, he surrounded himself with act that dated to the start of his long career. Upon his bereavement in , at the age of 80, the authorities discovered—behind locked doors on the second floor of his house—a collection of 1, paintings, 4, drawings and 15, prints, as able-bodied as woodcuts, etchings, lithographs, lithographic stones, woodcut blocks, copperplates and photographs. But in a final irony of his difficult life, Munch is famous at present as the creator of a definite image, which has obscured his by and large achievement as a pioneering and dominant painter and printmaker. Munch's The Bawl is an icon of modern ability, a Mona Lisa for our age. As Leonardo da Vinci evoked a Renaissance ideal of serenity and discipline, Munch defined how we see our own age—wracked with anxiety and ambiguity. His painting of a sexless, twisted, fetal-faced creature, with mouth and eyes open wide in a shriek of horror, re-created a vision that had seized him as he walked individual evening in his youth with two friends at sunset. As he afterwards described it, the air turned en route for blood and the faces of my comrades became a garish yellow-white. The thefts have only added posthumous adversity and notoriety to a life filled with both, and the added awareness to the purloined image has add distorted the artist's reputation. With the aim of correcting the balance, a major retrospective of Munch's work, the first to be held in an American museum in almost 30 years, opened last month at the Museum of Modern Art in New York City.

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