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iwtvfanevents · 1 month

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Rewind the Tape —Episode 1

Art of the episode

During our rewatch, we took note of the art shown and mentioned in the pilot, and we wanted to share. Did we miss any? Do you have any thoughts about how these references could be interpreted? How do you think Armand and Louis go about picking the art for their penthouse in Dubai?

The Fall of the Rebel Angels

Peter Bruegel the Elder, 1562

This painting is featured in the Interview with the Vampire book, and it was important enough to be included in the draft pilot script!

Bruegel the Elder was among the most significant Dutch and Flemish Renaissance artists. He was a painter and print-maker, known for his landscapes and peasant scenes.

Three Studies for Figures at the Base of a Crucifixion

Francis Bacon, 1944

Bacon was an Irish figurative painter, known for his raw, unsettling imagery and a number of triptychs and diptychs among his work. At a time when being gay was a criminal offense, Bacon was open about his sexuality, and was cast out by his family at 16 for this reason. He destroyed many of his early works, but about 590 still survive. The Tate, where these paintings are displayed, says this about the work: "Francis Bacon titled this work after the figures often featured in Christian paintings witnessing the death of Jesus. But he said the creatures represented the avenging Furies from Greek mythology. The Furies punish those who go against the natural order. In Aeschylus’s tragedy The Eumenides, for example, they pursue a man who has murdered his mother. Bacon first exhibited this painting in April 1945, towards the end of the Second World War. For some, it reflects the horror of the war and the Holocaust in a world lacking guiding principles."

Strawberries and Cream

Raphaelle Peale, 1816

Peale is considered to have been the first professional American painter of still-life. [Identified by @diasdelfuego.]

Outfits inspired by J.C. Leyendecker

Leyendecker was one of the most prominent and commercially successful freelance artists in the U.S. He studied in France, and was a pioneer of the Art Deco illustration. Leyendecker's model, Charles Beach, was also his lover of five decades. You can read costume designer Carol Cutshall's thoughts on these outfits on her Instagram.

Iolanta

Pyotr Tchaikovsky, 1892

The opera Louis and Lestat go to was composed by Tchaikovsky, another gay artist. The play tells a story "in which love prevails, light shines for all, lies are no longer necessary and no one must fear punishment," as put by Susanne Stähr for the Berliner Philharmoniker.

On the Hunt or Captain Percy Williams On A Favorite Irish Hunter

Samuel Sidney, 1881

The unidentified painting on the right might be from the same hunting series, though we couldn't identify the exact one. There's also a taxidermy deer, ram, and piebald deer on the wall. [Identified by @vfevermillion.]

The Artist's Sister, Melanie

Egon Schiele, 1908

Schiele was an Austrian expressionist painter and protege of Gustav Klimt. Many of his portraits (self portraits and of others) were described as grotesque and disturbing. [Identified by @dwreader.]

A Stag at Sharkey's

George Wesley Bellows, 1909

Bellows was an American realist painter, known for his bold depictions of urban life in New York City. [Identified by @vfevermillion.]

Mildred-O Hat

Robert Henri, undated (likely 1890s)

Henri was an American painter who studied in Paris, where he learned from the Impressionists and determined to lead an even more dramatic revolt against American academic art. [Identified by @nicodelenfent, here.]

Starry night

Edvard Munch, 1893

Munch was a Norwegian painter, one of the best known figures of late 19th-century Symbolism and a great influence in German Expressionism in the early 20th century. His work dealt with psychological themes, and he personally struggled with mental illness. [Identified by @vfevermillion.]

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

Starting tonight, we will be rewatching and discussing Episode 2, ...After the Phantoms of Your Former Self. We hope to see you there!

And, if you're just getting caught up, learn all about our group rewatch here ►

#louis de pointe du lac #daniel molloy #lestat de lioncourt #vampterview #interview with the vampire #iwtv #amc interview with the vampire #interview with the vampire amc #amc iwtv #iwtv amc #IWTVfanevents #rewind the tape #in throes of increasing wonder #analysis and meta #art of the episode

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puzzlesprintcom · 1 year

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Exploring Edvard Munch's Iconic Painting: The Scream

We are excited to announce our newest addition to the wooden jigsaw puzzle family - The Scream puzzle by Edvard Munch. This iconic painting has been transformed into a puzzle that will challenge and delight puzzle enthusiasts of all ages.

Who Made The Scream Painting?

Edvard Munch was a Norwegian painter born in 1863 in Loten, Norway. He is renowned for his emotionally charged paintings that explored themes such as love, death, and anxiety. Munch painted The Scream in 1893, during a period of personal turmoil. He described the painting as an expression of "the great scream that is nature." What Is The Scream Painting About? The Scream painting depicts a person holding their head and screaming in agony against a blood-red sky. The central figure's face is distorted and almost skull-like, adding to the sense of horror and despair. The painting has been interpreted as a representation of the anxiety and existential dread that many people experience in modern society. What Does The Scream Painting Mean? The Scream is a powerful and evocative painting that continues to capture the imagination of viewers over a century after it was created. It is a reflection of Munch's own struggles with mental illness and his fascination with the darker side of the human psyche. What Style of Painting Is The Scream? The Scream is an example of Expressionism, an art movement that emerged in the early 20th century. Expressionist painters sought to convey powerful emotions through their work, using bold colors and distorted forms to create a sense of unease or disorientation. Where Is The Scream Painting? The original version of The Scream is held in the collection of the National Gallery in Oslo, Norway. There are also several other versions of the painting, including one that sold for a record-breaking $119.9 million at auction in 2012. What Is The Story Behind The Scream Painting? Munch's life and work were shaped by personal tragedy and emotional turmoil. He lost his mother and sister to tuberculosis when he was young, and he struggled with alcoholism and depression throughout his life. The Scream is just one of many paintings that reflect his fascination with the darker aspects of the human experience. Where Was Edvard Munch Born? Edvard Munch was born in Loten, Norway in 1863. He studied art in Oslo and Paris before returning to Norway to develop his own unique style. Despite his personal struggles, Munch continued to paint and exhibit his work throughout his life, leaving behind a powerful legacy that continues to inspire and challenge artists today. The Scream puzzle by Edvard Munch is not only a beautiful and challenging puzzle and a great addition to our Cool Puzzle category, but also a powerful reminder of the emotional complexity of the human experience. Munch's painting continues to captivate and inspire viewers over a century after it was created, and we are honored to have transformed it into a wooden jigsaw puzzle that can be enjoyed by puzzle enthusiasts everywhere. Read the full article

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mdxlearningjournal · 2 years

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Artist Research - Edvard Munch

Edvard Munch (born December 12, 1893) was a Norwegian artist that specialised in painting and printmaking, imbedded with strong psychological themes. These psychological themes were represented through vivid symbolism and were heavily influenced by society in the 19th century. In the early 20th century, his work then became one of the biggest influences of the expressionist movement in Germany.

Expressionism was an art movement that focused on the interpretation of life and was a way for an artist to express themselves as freely as possible. The intention of this style wasn’t to replicate reality but was to give them the opportunity to create using emotion, and have life viewed through their artistic lens. In order to convey emotion, subjects were often distorted and exaggerated using simplified shapes, bold colours and animated brushstrokes. This can be seen throughout Munch’s creations, included one of his most famous paintings called ‘The Scream’ (1894). This painting depicts Munch’s thoughts and feelings as he went on a dérive, it symbolised his experience with struggling with mental illness and was his way of self-soothing therapy. The bright swirls of colours in the sky contrast with the eerie expression on the figures face, almost like a surreal dream.

In Munch’s early life he became quickly accustomed to illness and mental health, this was because all his family were affected by it in some way. For example, at the age of 5 his mother passed away from tuberculosis and then at 14 his eldest sister followed the same fate. This moment in time inspired one his first paintings, ‘The Sick Child’ (1885-86). Munch worked on this piece on and off for a year in attempt at trying to capture and recreate the traumatic last moments of his sister’s life. It seems he spent a large amount of time on this specific painting as it was his first and wanted it to be presented as true to his emotions as possible. I believe that’s how he became known for his intense and passionate paintings; each swift brush stroke and the loud colour palettes became symbols of Love, pain, anxiety, and death. Both his father and brother also passed away while he was still a young boy, and later his younger sister developed a mental illness and was institutionalised.

After reading about Edvard Munch’s life, I thought it was interesting to see how mental health was presented in art all those years ago. I believe expressionism itself had a big part in allowing people to be more open with the normalising of mental health. It is something we all still deal with in our society, if not more so, and we deal with it in our own way just like the brush strokes of his paintings. It is inspiring to see artists like Munch truly put their full soul into their work despite their hardships and the backlash their art may cause. He once wrote, “illness, insanity, and death were the black angels that kept watch over my cradle and accompanied me all my life”. The trauma that plagued him became the very thing that made him who he was. However, I do question if we didn’t have artists like Munch come forward, would our society be the same as it is now? Would we have continued to look down upon mental illness and would it be less common to talk about?

Reference

Watson, F, G (2022) Edvard Munch. Encyclopædia Britannica, inc. Available at: https://www.britannica.com/biography/Edvard-Munch (Accessed: October 12, 2022).

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we-are-only-halfway-home93 · 4 years

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Come and Lay the Roses 26- Under Those Same Stars- [Ivar x OC]

Summary: Ecbert panics. Athelstan has a chat with Ragnar. Aaline gets her way.

Characters: Ivar x OC, Bjorn x Torvi, Hvitserk x Thora, Ubbe x Margrethe, Sigurd x OC, Ragnar, Lagertha

Warnings: Arranged marriage, language, violence, torture, sex, mentions of sexual assault/rape

Word Count: 1926

Ch. 25

AN: Oh my God it has been way too long since I’ve updated! I am so sorry that it’s taken so long. I moved, school started, the one year anniversary of my grandmother’s death was this past week, I was dealing with some mental health issues but I am back and hoping to be more consistent with my updates. I hope you enjoy this chapter. There’s not a whole lot happening this time. I’m not too happy with how it turned out but it is what it is.

“Tell me, tutor, is revenge a science or an art?”

~Mark Lawrence

“That arrogant fool! I knew this would happen. I told him to tread lightly when it came to Ragnar Lothbrok but did he listen? No! He had to go and kill Ragnar’s son and now he is missing and his wife is dead! That stupid, stupid fool!”

Ecbert raged around his office. Papers were scattered on the floor and glass glittered on the carpet from where he’d thrown his trinkets. Two of his soldiers stood on either side of the door, un-moving. William, Ecbert’s footman, stood still in front of the desk. Ecbert had been careful to keep his rage concentrated on the items on his desk and not his man.

“Tell me again. What happened.” Ecbert waved a flippant hand towards William as he paced. William took a deep breath and spoke.

“Police were called to Aelle’s home this morning after a wellness check came in after Aelle failed to appear at his office. They arrived to find the house in perfect condition, no signs of a break-in. Once they reached the bedroom they found Ealhswith dead and Aelle missing.

“So far, there’s no evidence linking anyone to the crime. The gun was a Glock, one of the most commonly used guns in American crime. They’ve found no links to other crimes that the gun was used in and no usable fingerprints. The killer took the casings with them.”

Ecbert inhaled sharply and settled his hands on his hips. “This is Ragnar Lothbrok. I know it. It’s retaliation for the death of his son. I knew this would happen.” Ecbert shook his head and sighed.

With a sharp turn he faced William and pointed an accusing finger. “I want constant security on Aethelwulf and Judith’s home. They are never unattended. Get someone in on the investigation. I want to know everything that the police know. Go!”

He shooed William out of his office and turned away.

Aelle was going to be the death of him.

Athelstan made his way through the house towards the back garden. Torvi had greeted him upon his entry and told him that Ragnar was taking his lunch on the patio enjoying the fresh air and the blooming flowers. He was alone when Athelstan entered the patio.

Ragnar glanced once up at him before moving his things away from the empty side of the table. He waved his arm out, offering the chair across from him. Athelstan took it and sighed, gazing out at Ragnar’s garden.

“What are you doing, Ragnar?”

“I’m enjoying my garden. Lagertha had tulips planted last winter. Look, they’re just beginning to bloom. Aren’t they lovely?”

“That’s not what I mean and you know it. What are you doing with Aelle?”

Ragnar hummed and smoothed his hands over his thighs, brushing the crumbs off his pants. “I’m not sure what you’re referring to.”

“Enough, Ragnar.” Frustration lined Athelstan’s face and Ragnar took a long look at his friend’s face.

Athelstan had been his friend for the longest time. When they were both still young men, wet behind the ears and blind to the true nature of their chosen profession. Athelstan had risked much to keep their friendship away from his work and to protect Ragnar and his family. Athelstan was family but Ragnar couldn’t protect Athelstan the same way that Athelstan protected them.

He deserved to know the truth.

Ragnar nodded, resigned. “You’ve known me a long time, my friend. You know what I must do.”

Athelstan sighed and helped himself to the plate of cookies in the center of the table. He munched quietly, deep in thought.

“It is illegal, what you’re planning.” Athelstan said.

Ragnar laughed. “You don’t know what I’m planning.”

Athelstan looked at him with a shrewd eye, amusement buried deep in the depths of his gaze. “I know that it is illegal.”

Ragnar chuckled and shook his head. “He killed my son, Athelstan. He needs to pay for that.”

Athelstan sighed and took a bite out of his snack. Ragnar wasn’t wrong but at the same time he was. As a man of the law, Athelstan was obligated to prevent any known law breaking. He knew that Ragnar was planning on perpetrating a serious crime. If his history was anything to go by, the police would likely have a body pop up soon.

“Let the police handle it, Ragnar. There’s only so much I can do for you. I can’t control the courts.”

Ragnar shook his head and removed his sunglasses. “You know I cannot do that, Athelstan. I cannot let my son’s death go unpunished.”

Athelstan shifted in his seat to face Ragnar full on. “They will not go unpunished. Let the police do their jobs and I promise that Aelle will be punished to the full extent of the law.”

Ragnar turned to his oldest friend and smiled. It was a grim smile and it didn’t reach his eyes. “Your optimism is inspiring and I’m touched that you feel so strongly about this. It changes nothing.”

He nodded once at Athelstan before standing. He slapped a hand on Athelstan’s shoulder and began to venture inside. “Come, my friend.” He called from the doorway. “Lagertha has made her famous blackberry pie. Have a slice before you go.”

Athelstan gazed out at the rainbow of tulips peppering the garden. He heaved a great sigh before pushing himself up and following Ragnar inside.

Aaline watched Ivar in the bathroom. He had a towel wrapped around his waist and he was bent over the sink, shaving. He was still damp from his shower and Aaline’s mouth watered.

She knew that he knew she was watching him. She didn’t care and let her eyes trail over his impressive frame. Her eyes traced over the ink that covered his chest and expanded across his shoulders. At an angle, she could make out the loops and whirls across his back. He really was striking to behold.

She stepped forward and crowded close to him, hooking her chin on his shoulder and fingering the towel at his waist. He smirked but didn’t look away from his chore.

“When will you blood eagle Aelle?” Ivar met her eyes in the mirror and cleaned his razor before bringing it to his face again. Aaline traced a line around the edge of the towel, his skin warm beneath her fingertips.

“In a few days. We’ll bury Sigurd first and then perform the ceremony.” Ivar dropped his razor on the counter and picked up a damp washcloth. He cleaned the excess shaving cream from his face before turning in Aaline’s arms. She settled her hands on his hips.

“We’ll all take part. Björn will start. He’s the oldest. Father will watch and Sybille will observe.” Aaline stepped back, just on the edge of the circle of Ivar’s arms. Her eyebrows were drawn together.

“Sybille will be there?” Ivar nodded in the face of her confusion.

“‘Tis customary for the wife of the dead to observe. To see justice served.” Ivar stepped away and entered the bedroom. He rummaged around the closet, pulling out dark jeans and a v-neck. Aaline followed him.

“I’d like to be there. When you blood eagle Aelle.” Ivar glanced up at her, his gaze hard and steady. He snorted.

“No.”

Aaline narrowed her eyes and crossed her arms. “No?” Her voice was sharp and Ivar sighed, dropped his towel as he began to dress.

“It’s not a place for women, Aaline. There’s blood and screaming. Sometimes there’s vomit. It’s not pretty.” He tugged his jeans up his legs and snapped them closed. He could feel Aaline’s glare burning through his back but he didn’t turn to face her.

“I don’t care. I want to be there. For Sybille. She doesn’t need to be alone right now.”

Ivar turned, tugging his v-neck down his chest. “She’s not alone. Thora’s with her now. Torvi’s supposed to go over there in a few hours. When’s your shift start?” He pretended to ignore her fiery gaze as he rummaged through his dresser for socks.

Aaline sneered. Ivar was being purposefully obtuse. “That’s not what I mean and you know it. She doesn’t need to watch that alone.”

Ivar sat on the edge of the bed and slipped on his socks before tugging his boots on. “My love,” Aaline pretended that his endearment didn’t send shivers down her spine. “It is not something that women need to see. I’m trying to protect you.” He stood and cupped her face in his hands, placing a gentle kiss on her forehead.

He stepped around her and left the room. He closed his eyes when she followed him, slamming the door closed behind her. “Ivar, now is not the time for Sybille to deal with these things alone. Please, just let me be there for her. I can offer her support that you and your brothers cannot.”

Ivar stopped in the middle of the hallway and pinched the bridge of his nose. Björn and Hvitserk rounded the top of the stairs and saw Ivar standing, exasperated, in the middle of the hallway. Aaline was speaking.

“I really don’t ask for much, Ivar. Please, let me be there for my friend. My sister.” Ivar tilted his head back and glared at the ceiling, his hands tight on his hips. Björn and Hvitserk exchanged a look before Björn chose to speak.

“Aaline, it’s really not a place for women. It’s very violent, brutal. A lot of heavy emotions come forward. It’s difficult to control yourself sometimes.”

Ivar dropped his head to stare at his brother, taken aback at his stepping in.

Aaline’s mouth dropped open and her eyes widened. Shock painted her face and she whirled around to face the two men.

“Excuse me! I don’t believe I asked you! I was talking to my husband! Are you my husband, Björn?” Aaline’s cheeks were a splotchy red and her eyes were alight with a rage that Björn hadn’t seen before.

He took a measured step back and glanced back at Ivar who had a mix of pride and exasperation on his face.

“I thought so. Stay out of it!” She turned back to Ivar, ignoring the pride shining from his eyes. “And you! How do you know what I’ve done? The things I’ve done to people? You think violence frightens me?” She sneered and Ivar narrowed his eyes, his jaw tight.

“I know exactly what you’re capable of and I wouldn’t change a thing about you. You’re a strong woman and I’m proud of you.” Ivar snarled. Aaline felt the breath seize in her lungs and she couldn’t speak. Tears came to her eyes. Although backed by an angry snarl, Ivar’s words were kind.

Ragnar rounded the top of the stairs at a slow trot, tossing a blueberry into his mouth as he did.

“Ivar, Aaline is right.” All four of them whipped their heads around to stare at Ragnar. He smiled at the tension and deposited another blueberry on his tongue.

“What?” Ivar snapped.

Ragnar glanced at Aaline and saw the tears shining in her eyes. He offered her a tender smile before looking at his youngest son.

“I know you want to protect your wife but she is right. Sibylle cannot be there alone. She needs someone and who better than Aaline?” Ragnar parted with a loving smack to Ivar’s shoulder.

Aaline grinned at the brother’s and ignored Ivar’s angry stomp as he followed his father into his office, slamming the door behind him.

@dreamlesswonder @youbloodymadgenius @inforapound @bcarolinablr @funmadnessandbadassvikings @jay-bel @feyrearcheron44 @londongal2810 @khiraeth @didiintheblog @jeremyrennerfanxxxx123 @xbellaxcarolinax @shannygoatgruff @kingniazx

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amyboylandnarrativeproject · 3 years

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Artist Research #3

EDVARD MUNCH

Born: December 12, 1863 - Loten, Norway

Died: January 23, 1944 - Oslo, Norway

Edvard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious aspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters. Munch came of age in the first decade of the 20th century, during the peak of the Art Nouveau movement and its characteristic focus on all things organic, evolutionary and mysteriously instinctual. In keeping with these motifs, but moving decidedly away from their decorative applications, Munch came to treat the visible as though it were a window into a not fully formed, if not fundamentally disturbing, human psychology. Edvard Munch grew up in a household periodically beset by life-threatening illnesses and the premature deaths of his mother and sister, all of which was explained by Munch's father, a Christian fundamentalist, as acts of divine punishment. This powerful matrix of chance tragic events and their fatalistic interpretation left a lifelong impression on the young artist, and contributed decisively to his eventual preoccupation with themes of anxiety, emotional suffering, and human vulnerability.

The Scream (1893)

The significance of Munch's The Scream within the annals of modern art cannot be overstated. It stands among an exclusive group, including Van Gogh's Starry Night, Picasso's Les Demoiselles d'Avignon, and Matisse's Red Studio, comprising the quintessential works of modernist experiment and lasting innovation. The fluidity of Munch's lateral and vertical brushwork echoes the sky and clouds in Starry Night, yet one may also find the aesthetic elements of Fauvism, Expressionism, and perhaps even Surrealism arising from this same surface.

The setting of The Scream was suggested to the artist by a walk along a road overlooking the city of Oslo, apparently upon Munch's arrival at, or departure from, a mental hospital where his sister, Laura Catherine, had been interned. It is unknown whether the artist observed an actual person in anguish, but this seems unlikely; as Munch later recalled, "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 ... shivering with fear. Then I heard the enormous, infinite scream of nature."

This is one of two painted versions of The Scream that Munch rendered around the turn of the 20th century; the other (c. 1910) is currently in the collections of the Munch Museum, Oslo. In addition to these painted versions, there is a version in pastel and a lithograph.

Puberty (1894-95)

Agony, anxiety and loss are constant themes throughout Munch's oeuvre, yet perhaps nowhere do they come together as powerfully as in Munch's Puberty, a portrait of adolescence and isolation. The lone and guarded female figure symbolizes a state of sexual depression and frustration - both of which plagued the artist himself throughout his life while the girl, although apparently shy (to judge by her posture), indicates quite the opposite by way of her frank stare. The looming shadow behind the figure hints at the birth of an ominous and sentient creature, perhaps one haunting her room, if indeed it is not her own dawning persona. The aesthetic qualities of Post-Impressionism are still very much present in Munch's work at this time, but what sets his work apart is the powerful element of symbolism. Munch is painting not necessarily what he sees, but what he feels in front of him. Munch usually painted, in fact, from imagination rather than from life, but here the uncharacteristic detailing of the girl's body - in particular the collar bone is considered by many evidence that, at least in this instance, Munch resorted to the use of a live model.

Spring Ploughing (1918)

In the years following Munch's hospital stay the artist removed himself from the lifestyle of carousing and heavy drinking and devoted his days to his art and to the countryside of his homeland. While at one time the artist referred to his paintings as "my children," by this time he began referring to them as "my children with nature." This new-found inspiration, in the form of farm hands, animals, and the Norwegian landscape, took Munch's art in an entirely new direction, one celebrating life and work, rather than anxiety and loss. In Spring Ploughing, one can see the inspiration Munch took from the much younger Franz Marc - whose Expressionist paintings were originally inspired by Munch - who had a penchant for painting animals in their natural surroundings. Munch's period of creating truly original Symbolist-cum-Expressionist works had since passed, indicated by similar works of this time and their innocent subject matter. Nevertheless, the maturity of this painting's brushwork and palette clearly demonstrate the hand of a master.

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solitariussanctumartarchitecture · 5 years

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The skies in "The Scream" might be based on this strange weather pattern.

You don't have to know a lot about art history to recognize "The Scream" — it's the one with the wavy-looking person holding both hands to its face, mouth agape in anguish. The shape of the person is just an artistic representation, of course, but the spooky skies driving the subject of the painting to despair might be based on a real meteorological event. It's more than possible; it's likely, according to a new report published in the Bulletin of the American Meteorological Society.

Cloudy Visions

It's no exaggeration to say "The Scream" ranks up there with the "Mona Lisa" or Michelangelo's "David" as one of the most universally recognized pieces of fine art in the world. But what really makes the piece special is the depths of emotion that it conveys. It isn't clear from looking what is causing the main figure such distress, but Edvard Munch's inscription on the frame of the original 1893 painting suggests that, abstract as it may be, it was also based at least in part on true events:

I was walking along the road with two friends

—the sun was setting

—I felt a wave of sadness—

—the Sky suddenly turned blood-red

I stopped, leaned against the fence

tired to death—looked out over

the flaming clouds like blood and swords

—the blue-black fjord and city—

—My friends walked on—I stood

there quaking with angst—and I

felt as though a vast, endless

scream passed through nature.

It's an evocative question, and it's fueled a century or so of speculation about what, exactly, "The Scream" depicts. Some theories state that the blood-red imagery is merely a metaphor for Munch's feelings at the time. The boardwalk depicted in the painting would have led Munch to the mental asylum where his sister had been admitted, and "The Scream" may refer to both the despair he felt for his sister and the fear he felt that he would face the same fate. At the same time, the specific mention of the clouds lends something to the idea that Munch really did witness something that disturbed him (while he was already in a rather disturbed state of mind).

An Opalescent Explanation

According to the team of meteorologists made up of Fred Prata from the University of Oxford, Alan Robock of Rutgers, and historian Richard Hamblyn of Birkbeck, the background of Munch's resembles nothing so much as nacreous clouds, also known as mother-of-pearl clouds. These rare formations were once seen only at the uppermost latitudes (although human impact has caused them to appear more frequently and closer to the equator in recent years). They're long, wavy, and fill the sky with light in many strange colors. In other words, they look very much like the bright-red and gunmetal-blue background in the painting.

It's not just a matter of passing resemblance, either. Although rare, the clouds form with some regularity in Oslo, where Munch lived at the time. As evidence in the paper, Prata submits photos he himself took of the nacreous clouds hovering low in the sky over southern Oslo. Frankly, they're practically a dead-ringer for the clouds in Munch's painting. There's just one thing that's missing: Munch's clouds aren't at all iridescent: a key feature of the strange cloud formation.

A Lava-ly View

Let's be clear: At this point, we can't say for sure that nacreous clouds were really the inspiration for the painting. Another theory, one that goes back further than this newer idea, says that the blood-red sky Munch saw was the result of a volcanic sunset — perhaps even one of the many caused by Krakatoa. When the massive volcano exploded in the South Pacific in 1883, it caused a shift in weather patterns all over the world, including causing roughly a year or two of vividly colorful sunsets as far away as northern Europe. The only problem with the Krakatoa theory is that those sunsets would have been long since finished by the time Munch created his paintings. Plus, the Edvard Munch of 1883 was not nearly the anguished soul he would be some eight years later.

Of course, that's not exactly a nail in the coffin for the volcano hypothesis, either. There's no reason Munch couldn't have been referencing a particularly vivid sunset he saw back in the days of Krakatoa. There were also other volcanic candidates, like Awu in 1893, that might have painted the sky red over Europe. Still, there's the uncanny resemblance the painting bears to iridescent mother-of-pearl clouds. At the end of the day, we can probably say a few things for certain: Edvard Munch probably did see volcanic sunsets in his day, and he probably saw nacreous clouds as well. He also probably experienced many of these sights through an emotionally charged lens. Is "The Scream" a painting of nacreous clouds? We'll never know for sure, but there's a good chance they at least influenced his dark vision.

Source: Curiosity app

Article written by: Reuben Westmaas on 8/17/2018

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priscachathyoka · 3 years

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Edvard Munch

Theartstory.org; Biography of Edvard Munch. “Edvard Munch was born in 1863 in a rustic farmhouse in the village of Adalsbruk, located in Loten, Norway. Munch's mother died of tuberculosis in 1868, the same year Inger Marie was born. Within a decade, Munch's favorite sister, Sophie, just one year his senior and a gifted young artist, also died of tuberculosis. Munch's father, a fundamentalist Christian, thereafter experienced fits of depression and anger as well as quasi-spiritual visions in which he interpreted the family's illnesses as punishment of divine origin. Due largely to Christian's medical career with the military, the family moved frequently and lived in relative poverty. Christian would often read to his children the ghost stories of Edgar Allan Poe, as well as lessons in history and religion, instilling in young Munch a general sense of anxiety about (and morbid fascination with) death. Adding to this, Munch's frail immune system was little match for the harsh Scandinavian winters.”

In reading just the opening paragraph of Munch’s Biography you can see that he channeled his emotions and emotional pain into his Art as the general colour of his pieces are of dark tones and harsh brush strokes creating those lines that can be mistaken to give an illusion effect.

https.//medium.com; The story Behind the scream. “ According to Munch himself, The Scream was a picture he painted to represent his soul. Munch explained that he painted a moment of existential crisis. He was walking down a road similar to the one in the painting, while the sun was setting, creating a beautiful, vibrant background.”

This related to my Narrative idea because this picture and story displays strong Antisocial and Anxious behavior. This is because his surrounding were peaceful and of a calm nature but as he said him self that he still felt as though he was in a crisis which can be related to sleep dysphoria because outwardly you may be able to function and do day to day tasks but inwardly you may be feeling detached, tired and this may cause you to feel like you are in a “Existential crisis”.

In accordance with my project I decided to create a sample only using lines to create my image, I used this ‘scream’ painting as inspiration more specifically i used the lines in the background as the main focus of my sample.

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georgiaprocessandenquiry · 3 years

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Fig.1 https://usaartnews.com/events/fine-art/edvard-munch-between-the-clock-and-the-bed[accessed 28/11/20]

I recently watched Emin/Munch: between the clock and the bed on BBC iPlayer, I found it absolutely fascinating to see the direct links of inspiration Emin has obtained from Much.

A lot of the shirt documentary surrounded life and death, or sickness of some kind. Munch lived quite the tortured life and was more than aware of his own mortality, especially after the death of his mother and sister. His work appears very feminine, in this sense, I believe Munch’s work to show his vulnerability. He opens himself up on the painting and discusses his biggest fears.

One thing in particular interested me whilst I was watching the documentary, and that was the wicker chair that has featured in a variety of Munch’s paintings. I learned that the chair was the fact the same chair he kept all his life. When his sister died of consumption, leading up to her depth she sat on that same chair.

I was really captivated that Munch still continued to paint it, he recognised the chair as something valuable to himself, as it contained memories. Similar to my grandmother’s chair and the emotion I feel about it.

If I have learned anything whilst completely immersing myself in other artists processes and lives, its that we all think very much the same. We are all vulnerable in a sense that we all are very much in-tune to our emotions. We feel differently, we constantly doubt ourselves and our work. I find artists often never rest, they ae always thinking and breathing art. I feel that Munch’s work portrays this in a very honest light. It reminds me of a quote I recently read:

“We artists are indestructible; even in a prison, or in a concentration camp, I would be almighty in my own world of art, even if I had to paint my pictures with my wet tongue on the dusty floor of my cell.” ― Pablo Picasso

I definitely plan on watching more documentaries surrounding the art’s, it felt like a reprieve from the academic books.

Emin/Munch: between the clock and the bed (viewed at https://www.bbc.co.uk/iplayer/episode/m000q5zn/eminmunch-between-the-clock-and-the-bed)[accessed 28/11/20]

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suzylwade · 4 years

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Emin Meets Edvard The ‘Royal Academy of Arts’ plans to go ahead with an exhibition bringing together for the first time the work of the British artist Tracey Emin RA (b.1963) and the Norwegian ‘Expressionist' Edvard Munch (1863-1944) two artists born 100 years apart. Long fascinated and inspired by Munch’s work Emin will choose a selection of his masterpieces to accompany her own works. The exhibition COVID willing will be one of the last in a disrupted 2020 schedule of shows at the institution. The exhibition will feature around 25 works by Emin - including paintings - some of which will be on display for the first time, as well as neons and sculpture. These have been chosen by Emin to sit alongside a carefully considered selection of 19 oil paintings and watercolours by Munch drawn from the rich collection and archives of the ‘Munch Museet’ in Oslo, Norway. The exhibition will interweave the works of both artists across all three galleries demonstrating that Emin and Munch, though separated by time and history, explore the same emotional landscape in their works with remarkable intensity. In her formative years as an artist, Emin was drawn to the expressionism of paintings by both Munch and Egon Schiele, their concerns in exploring the complex human condition and tortured psyche echoing many of her own burgeoning tendencies. In particular, Munch’s confrontation and exploration of emotions in his work had an enduring appeal to Emin, who saw him as “a friend in art” and as early as 1982 was directly referencing the artist in her work. ‘The Loneliness of the Soul’ will focus on themes of grief, loss and longing. Emin has focused on a group of Munch’s works which explore his complex relationship with the female sex. Early tragic events, including the death of his mother when he was only five years old, followed a few years later by his beloved sister. Then a series of doomed love affairs, all contributed to this uneasy connection. The works on display highlight his fascination with the depiction of women, the emotional states of women and the process of ageing. (at Royal Academy of Arts) https://www.instagram.com/p/CE81xbxlwIR/?igshid=1wytdatwgzds

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thefashioneditorblog · 4 years

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More about ‘The Scream’

I then looked into more information about the painting itself.

The original title given by Munch to his work was Der Schrei der Natur (The Scream of Nature), and the Norwegian title is Skrik (Shriek).

‘The Scream’ can be considered to be autobiographical, based on Munch's actual experience.

One of his diary entries read: "Nice 22 January 1892. One evening I was walking along a path; the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The colour shrieked. This became The Scream.”

He later described his inspiration for the image: “I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.”

Made as part of Munch’s semi-autobiographical cycle “The Frieze of Life,” The Scream’s composition exists in four versions and the work’s subject matter reflects Munch’s interest at the in themes of relationships, life, death, and dread. It has been compared to individual suffering from depersonalisation disorder experiences, a feeling of distortion of the environment and one's self. Arthur Lubow said it is: "an icon of modern art, a Mona Lisa for our time". Arguably it represents the universal anxiety of modern man. This is perhaps the most iconic human figure in the history of Western art.

Munch used a minimum of forms to achieve maximum expressiveness. It consists of three main areas: the bridge, which extends at a steep angle from the middle distance at the left to fill the foreground; a landscape of shoreline, lake or fjord, and hills; and the sky, which is activated with curving lines in tones of orange, yellow, red, and blue-green. Foreground and background blend into one another, and the lyrical lines of the hills ripple through the sky as well. The human figures are starkly separated from this landscape by the bridge. Its strict linearity provides a contrast with the shapes of the landscape and the sky. The two faceless upright figures in the background belong to the geometric precision of the bridge, while the lines of the foreground figure’s body, hands, and head. It has been suggested that the strange, sexless creature in the foreground of the painting was inspired by a Peruvian mummy, in this way the painting is ambiguous what exactly the scream represents.

It is possible to suggest that the work is representative of his mental health or mental health of those around him. Mental health was a problem in Munch’s family. His mother and one of his sisters died of tuberculosis. His father suffered from depression and her other sister was diagnosed with schizophrenia. Munch himself had a mental breakdown in 1908, which was aggravated by alcoholism, and was admitted to a mental health clinic in Denmark. He even said “sickness, madness and death were the black angels that guarded my crib”. On the other hand, the painting may also be simply representing a “Scream of Nature”.

https://en.wikipedia.org/wiki/The_Scream

https://www.edvardmunch.org/the-scream.jsp

https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/munch-the-scream

https://legomenon.com/meaning-of-the-scream-1893-painting-by-edvard-munch.html

https://www.dailyartmagazine.com/artists-who-suffered-mental-illness/

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lhne · 4 years

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Pretty Sick

As the world struggles to come to grips with the Corona Virus, I want to take a moment to consider the ways that artists and writers have responded to disease in the past. For my MFA thesis at the Institute of Art and Design at New England College, I have been exploring the relationship between illness and beauty. I have studied dozens of artists and writers who have responded to diseases such as AIDS, cancer, tuberculosis, and the Spanish flu. The works are by turn elegiac, romantic, beautiful, frightening and inspiring.

Yet one thing remains constant. The photographs I’ve studied dealing with illness are characterized, for the most part, by a struggle between the desire to document and the often-irresistible urge to find beauty in illness and to romanticize those who suffer from it. In this way, art about illness often mirrors the greater dilemma resonant in photography in general—between showing what is real or true and making it beautiful—between documenting what has been and shaping reality into a story that is palatable, accessible and attractive to the viewer.

Take for example the works produced after the Spanish Flu epidemic. Much like the Corona Virus that has grasped the world's attention, the Spanish flu rampaged worldwide from 1918-1919. One of its most famous sufferers was Edvard Munch whose self-portrait, After the Spanish Flu (1919-1920), depicts the tortured painter in the aftermath of the illness. (Figure 1.) In this portrait, Munch uses his characteristically vibrant and disturbing colors and undulating lines to suggest the fever, chills and malaise of a flu sufferer.

Figure 1. Edvard Munch, Self-Portrait after The Spanish Flu. 1910-1920

Illness was a common subject for Munch, whose mother and sister both died of tuberculosis, also known as consumption, a disease Munch also suffered from as a child. "I inherited two of mankind's most frightful enemies," he wrote in an undated private journal. "The heritage of consumption and insanity—illness and madness and death were the black angels that stood at my cradle." In the painting, Munch turns away from his own work, displayed on the desk or in the painting behind him. One thing that is certain about illness, especially serious illness, it saps your desire for the things you love: work, family, friends. It can take over your life.

Tuberculosis was a disease said to "consume" its sufferer who then died a "beautiful death” with pale skin and a languorous temperament. The disease gave sufferers a certain ardor, “It was glamourous to look sickly,” according to Susan Sontag, author of Illness as Metaphor, who wrote extensively about the disease and its links to beauty.

Consider the romanticized pictorial portrait presented in 1858 by Henry Peach Robinson who painstakingly assembled five negatives to create, Fading Away, a stylized view of a young girl dying of tuberculosis. (Figure 2.) Despite the fact that the girl is shown resting peacefully—a coughing phlegm spewing attack common to tuberculosis sufferers is far from attractive. Robinson is clearly romanticizing her suffering.

Figure 2. Henry Peach Robinson, Fading Away, 1858. Collection of the Metropolitan Museum of Art.

Photography has the ability to freeze time, to capture a moment, preserving what is at best only a partial truth. Says Sontag: “This freezing of time—the insolent, poignant stasis of each photograph—has produced new and more inclusive canons of beauty. But the truths that can be rendered in a dissociated moment, however significant or decisive, have a very narrow relation to the needs of understanding. Contrary to what is suggested by the humanist claims made for photography, the camera's ability to transform reality into something beautiful derives from its relative weakness as a means of conveying truth.”

Sontag goes on to claim that many of our literary and erotic attitudes derive from tuberculosis and its transformations through metaphor. “Twentieth-century women’s fashions (with their cult of thinness) are the last stronghold of the metaphors associated with the romanticizing of TB in the late eighteenth and early nineteenth centuries.”

Amended after the AIDS crisis, her book, Illness as Metaphor, sheds light on the political views that surround disease vividly making the case that throughout history it has been fashionable to have tuberculosis and incredibly damning to have AIDS—AIDS having been seen as a certain sign of moral failure—although we now know the AIDS virus to be not so different from the flu. Sontag is clear: There is a fashion to illness and ideas about illness can be manipulated to suit the political times and to absolve or condemn sufferers.

How does this struggle relate to photography? “The history of photography could be recapitulated as the struggle between two imperatives: beautification, which comes from the fine arts, and truth telling, which is measured not only as by a notion of value-free truth, a legacy from the sciences, but by a moralized ideal of truth telling, adopted from nineteenth-century literary models and from the (then) new profession of independent journalism,” writes Sontag in her classic book, On Photography.

Perhaps one of the most telling examples of this tension comes from W. Eugene Smith’s lavishly beautiful portraits of Japanese children affected by mercury poisoning from a plant in Minamata, Japan. This series of photographs documents the effects of industrial poisoning at the same time it romanticizes and beautifies the lasting legacy this pollution had on its victims and their families.

Figure 3. W. Eugene Smith, Tomoko and Her Mother, gelatin silver print 1972

Our romanticized visions and outsized fears about disease continue to play out today both in art and in social media. Consider the following image from the Paris Couture presentation of Korean Fashion brand Kimhēkim that sent models down the runway in September 2019 with IV poles in t-shirts emblazoned with the word Sick.

Figure 4. Paris Fashion Show, September 2019.

Similarly, as the Corona Virus worked its way across Europe in early March 2020, French designer Marine Serre showed this look—personalized couture masks and gloves—to get the global fashion elite ready for the pandemic. Just one more attempt in a long line of attempts to document the effects of an illness even as artists and designers seek to beautify it.

Figure 5. Marine Serre, Paris Fashion Week. 2020For more information:

For more information: The Princeton University Art Museum recently hosted a comprehensive view of how artists across time have responded to contagion and illness, entitled States of Health: Visualizing Illness and Healing.

Nancy A. Nichols is a writer, editor and photographer. A former senior editor at The Harvard Business Review, she is the author of Lake Effect: Two Sisters and a Town’s Toxic Legacy.

https://www.instagram.com/nnabc/

About the LHNE Collective

#coronavirus #disease #photography #arthistory #contemporary art

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sarahjart · 5 years

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EXHIBITION- EDVARD MUNCH, LOVE & ANGST

On the eighth of May, I visited the British Museum’s exhibition of prints and artwork by Edvard Munch, best known for his painting The Scream. The exhibition focused on the torments that shook his life. This included the death of his mother while he was still very young, the death of his younger sister, 13, of tuberculosis, which would haunt him for the rest of his life, and multiple accounts of abusive and adulterous relationships which lead him down the path of a complete mental breakdown.

His work is incredible and a huge inspiration of mine. I absolutely love the haunting quality of his mark making and the dark anxiety ridden subjects he chooses. I feel as if he has depicted feelings I relate to on a very deep level in many of his works- it’s almost shocking to have such clarity look back at me. I will show and analyse some of my favourite works from the show below.

Self Portrait, 1895

This self portrait is haunting in its simplicity. Munch’s delicate use of lined ink to explain the curves of the face, and the darkness around the subject make it seem as if he is a ghost emerging from the night. The blackness around his face seems to blend carefully into the features of the head, so that it does not seem as if the face has been cut out crudely by the black background (something which is very difficult to not do accidently- in my experience a solid black background is a very precarious thing to put around a light subject) The light spider-like lines that define the features do not draw your attention to them, making the eyes seem washed out and even more ghostly.

The Sick Child- 1907

This painting depicts plainly, and heart-breaking, a woman grieving beside the bed of a dying child. The child is Munch’ s sister, and the woman is his aunt. What is especially effective about this painting is its roughness- comprised of downward strokes, it clearly shows the pain and despair of the woman, at the same time as the stillness of the child. My favourite part of the painting is the way the child‘s face blends into the white of her pillow. This gives her a clearly “Munch-style” haunted quality. To me, it seemed that her soul seemed to be leaving her body, and that she seemed to be dead already.

Angst- 1896

‘Angst’ is the sister image, and precursor to the famous The Scream. In this image, again Munch masterfully uses black in large areas to contain the figures, leaving their white faces a stark contrast. The flowing lines represent a swirling anxiety, red with danger. The figures eyes are almost not visible, extremely lightly drawn, giving them a presence that makes you feel the need to peer closer at the same time as being repelled by the negativity of the piece.

Kristina Bohemians II, 1895

I’ve included this etching because I was inspired by the quality of the characterisation of the figures. I absolutely love the man’s head on right hand side, as well as the one behind that. The roundness is great!

Despair- 1892

This sketch is one of Munch’s earliest ideas for what would become The Scream. Unlike the scream, in Despair the figure turns away from the viewer and is wearing a hat which obscures his features. The face we can see under the hat is blank- void-like, which effectively captures the emotion of despair.

The Sick Child-

This print was made after the larger painting of the same name. The subject is Much’s younger sister in her deathbed. Her expression is captured perfectly, and the face her face seems to fade into her pillow is telling of her physical and spiritual decline. For me, this is one of the most haunting images in the exhibition.

Moonlight, Night in Saint-Cloud, 1895.

This print was one of Munch’s earliest works to gain the attention of the public. I include it here because of its amazing atmospheric presence.

The Scream, 1895

This print of Much’s magnum opus, The Scream, was created after the famous painting of the same name. The figure, it’s face reminiscent of a skull screams out at the viewer, as the clouds compress into streaming lines that emphasize the figure’s panic. I absolutely love this image for the emotions it manages to express so clearly.

#exhibitions

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itssiennatheasian · 6 years

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Art History: Expressionism and Modern Pop Art

The Scream by Edvard Munch

In this final edition of our Art History series, we bring you the origin of modern art. Discover the artists behind today's great design.

Expressionism and Modern Pop Art

There is closure in expression. Laughter in expression. Love and misery in expression. And we need it all.

We have collected colorful reflections of people's thoughts throughout time, all the while learning to do better—well, at least sometimes. Art shows us that we still can.

The industrial world rapidly grew, and so did the cities of Western society during the late 19th and early 20th centuries. A modernist movement, as it was called, swept through with varying styles that rebelled against the romanticism of earlier art.

In turn, artists used simplified shapes and created new mediums to express their innermost reflections. These expressions would become some of the greatest contributions to our modern design world today.

Let's take a look at a few of the influential artists from this period.

Edvard Munch

Walking through the streets with his friends one night, Edvard Munch panicked as he saw the sky turn red. His accounts of that night, later noted as possibly the eruption of Krakatoa, inspired one of the most famous works of modern expressionism.

But perhaps The Scream was just about love.

Anxiety by Edvard Munch

Edvard said,

"You know my picture, 'The Scream?' I was stretched to the limit—nature was screaming in my blood… After that I gave up hope of ever being able to love again."

What we call modern art was a brother expressing sorrow after the death of his sister. Like many artists, Edvard used his creativity as a cathartic way to deal with some of the harsh realities of life. Edvard would continue to mourn his loss with The Sick Child and other work.

The Sick Child by Edvard Munch

Always incredibly personal, his style used simple lines and textural brush strokes to translate the emotions of that moment.

"I do not believe in the art which is not the compulsive result of Man's urge to open his heart."

Edvard explored many more topics throughout his work, including anxiety and the different stages of life. He continued to open his heart in his later years, as he painted while living in solitude in Norway.

Munch Museum, Oslo

Piet Mondrian

One of the pioneers of abstract art, Piet Mondrian changed the direction of traditional art. While most artists still specialized in figurative painting, Mondrian's taste for bold shapes and simplified lines set him apart from others.

When describing his work, he said:

"I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness."

Composition II in Red Blue and Yellow 1930 by Piet Mondrian

Piet loved shape and form so much so that he became incredibly influenced by other art movements like Impressionism, Cubism, and Fauvism. These styles showed him that he could isolate certain moments in nature and represent them with abstracted colors.

And after relocating to Paris during the early 20th century, Piet just did that. His paintings grew to large compositions of intersecting lines and colors.

Composition 10 by PIet Mondrian

Piet worked diligently on his colorful creations, often until his hands bled or until he cried from exhaustion. During the later years of his work, he explored depth of perception by layering blocks of color on top of one another.

A change from his usual black linear style, these lively paintings allowed Piet to express his love of music. His work would go on to inspire artists in all mediums, from fashion to graphic design.

Victory Boogie Woogie by Piet Mondrian

Eduardo Paolozzi

Eduardo Paolozzi was one of the first artists to write the word "pop" in his work. Now it's a favored description for many modern designers.

He made his innovative work pop with abstract sculptures and unique compositions of collages and more. Inspired by his love of Surrealism, Eduardo wanted to explore the many ways that humans have been affected by uncontrollable forces.

Head of Invention by Eduardo Paolozzi

Paolozzi's fascination for the way things work, particularly the human body and machinery, crossed over into his art. In an effort to learn as much as he possibly could about the world, he filled his workshop with objects of all kinds, including toys and mosaic pieces.

"I like to make use of everything. Sometimes I feel like a wizard in Toytown, transforming a bunch of carrots into pomegranates."

Mosaic by Eduardo Paolozzi

He continued his work with a drive for exploring new mediums and modes of expression. Among some of his most famous pieces is a statue of Isaac Newton, which explores how important mathematics have become to modern life.

Statue of Newton by Eduardo Paolozzi

Andy Warhol

When you think of pop art, you think of Andy Warhol. An American artist, director and producer, Warhol's work became a cultural phenomenon during the 1960s for his incredible commercial and advertisement pieces.

Though he worked with many styles and media, some of his most famous pieces include the iconic silkscreen paintings of Marilyn Monroe.

Marilyn Diptych by Andy Warhol

The Marilyn Diptych, as it was called, contains 50 images of Marilyn's face. Twenty-five images on the left side are brightly colored, while the other 25 remain in black and white.

All of the images of the iconic actress were based on a single publicity photo from the movie Niagara. This piece alone would not only inspire many but also become a point of reference for many artists for years to come.

Campbell's Soup Cans by Andy Warhol

Also among his famous pieces are Warhol's Campbell's Soup Cans. This collection of 32 canvases consists of all the flavor varieties available at that time.

Warhol openly embraced consumerism. Some of his work included a collection of paintings dedicated to iconic American objects. From Coca Cola bottles to dollar bills, Warhol unleashed his creativity despite the criticism of naysayers.

Campbell's Soup Cans by Andy Warhol

Warhol continued to develop various techniques for creating and manipulating art. He later transitioned into film-making as a director of films like Sleep and more.

Conclusion

Are you ready to help us change the next 100 years of art and design? These modern times show us that it is possible to create change, especially when creativity is our best asset. And I hope you continue to learn more about these amazing timelines on your own.

For more stories about Expressionism and Modern Pop Art, dive into the links below for further reading.

Art of the 20th Century

Theories of Modern Art

Modern Art: Impressionism to Post-Modernism

All of the images used are for educational purposes. The following sources were also included in this article:

Wikipedia: Edvard Munch

Wikipedia: Modernism

Wikipedia: Piet Mondrian

Wikipedia: Andy Warhol

from Envato Tuts+ Design & Illustration http://ift.tt/2BTjy0m via http://ift.tt/1dVCCOJ

#Envato Tuts+ Design & Illustration

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