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Erik Mørstad, ed. Edvard Munch: An Anthology. [Oslo]: Unipub forlag and Oslo Academic P, 2006.
Edvard Munch (1863-1944), the Norwegian painter, may be the most well-known Scandinavian artist in an international community of art historians. Munch has been included in surveys of modern art and even in some general histories of art. Such texts sometimes include reproductions of such iconic images as The Scream (1893) and The Dance of Life (1999-2000). These early paintings have frequently been viewed by art historians as Munch's most potent visual statements. Munch is a key figure in creating expressionistic works of art, powerful, often haunting visual images that bespeak inner feelings, emotions, and psychological states of being. Some of his works like The Scream have entered popular culture. This image of a tormented, somewhat skeletal, almost weightless human figure isolated on a bridge, amidst an overwhelming nature has appeared on book covers, T-shirts, and other commercial objects. Some years ago, I even saw it blown-up to almost life-size as a standing punching bag designed to help alleviate anxiety and stress.
There are, of course, art books and biographies dedicated to the art and career of Edward Munch. This brings us to the new book at hand, Edward Munch: An Anthology, (2006) edited by Erik Morstad. It is composed as nine independent articles, rather than crafted as interwoven chapters, and written by art historians from Norway, Switzerland, Germany, and the United States. The texts themselves are quite different, ranging from traditional to fashionable art historical approaches. Several essays concentrate on "sex," a hot topic amongst some in art history today, and one that an examination of Munch's work invites. One essay is on the creation of a catalogue raisonne of Munch's work; another concentrates on a self-portrait; two are on The Sick Child; and the last two discuss Munch's influence on other artists, including some working in our own time.
This book, which provides no chronology or overview of Munch's career and art, seems to be directed toward those with knowledge of the works of Munch. The targeted audience appears to be other art historians, not the general public. The greatest strength of the book is the amount of behind-the-scenes detail provided by some of the scholars. In my opinion,...