Saturday, September 23, 2023
Woohoo! Our Tyler Arboretum membership gained us entry to the
Clark Art Institute (also known as The Clark) along with their special exhibition:
Edvard Munch: Trembling Earth.
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The entrance to the Clark Art Institute
at the Clark Center (2014, by Tadao Ando) |
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The first of three self-portraits (Self Portrait
in Front of the House Wall, 1926) by the
Norwegian artist Edvard Munch, best known for
his vivid depictions of love, anxiety, and death
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| Self Portrait with Palette (1926) |
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| Self Portrait Against a Blue Sky (1908) |
In the Forest: Munch celebrated the forest’s cyclical process of growth, death, and rebirth in paintings and prints.
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| Elm Forest in Spring (1923) |
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| From Thüringerwald (1905) |
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| Ashes I (1896 lithograph) |
Cultivated Landscapes: Munch’s paintings of cultivated landscapes reflect his keen interest in human interaction with nature; he regarded his gardens and fields as places of refuge.
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Girl Under the Apple Tree (1904)
was the first painting by Munch in a
public museum in the United States
(Carnegie Museum of Art, Pittsburgh) |
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| Woman with Pumpkin (1942) |
Snow and Storm: Munch’s fascination with metamorphosis, together with his faith in nature’s cyclical renewal, led him to depict each season with reverence.
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Starry Night (1922-1924) somewhat resembles
Starry Night (1889) by Vincent van Gogh |
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The Storm (1893), the pose of the women with hands on
either side of their heads echoes that of The Scream (KSS) |
On the Shore: Munch depicted a particular curving shoreline in his paintings, drawings, and prints from the 1890s through the 1930s.
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| Summer Night by the Beach (1902-1903) |
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| Melancholy III (1902) (KSS) |
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Two Human Beings: The Lonely Ones (1899,
color woodcuts on paper) (KSS) |
Cyles of Nature: Munch’s artistic practice was impacted by his overlapping interests in philosophy, religion, and the natural sciences, including Monism, a belief that all existence is unified, humans and nature.
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| Metabolism (1916) |
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The Scream (1895, lithograph) where nature's
unrest is causing the earth to tremble |
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| The Sun (1912) |
Chosen Places: Specific locations had their own visual characteristics and inspired distinct narratives in Munch’s work.
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House in the Summer Night (1902)
in Åsgårdstrand, Norway |
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On the Bridge (1912-1913, lithograph),
also in Åsgårdstrand, Norway |
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| The Girls on the Bridge (1902) |
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| The Women on the Bridge (1903) (KSS) |
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Girls on the Bridge (1918-1920, color woodcut
and zincograph on paper); Zincography is
a printing process using zinc plates |
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Young Man on the Beach (1908) in
Warnemünde, Germany where Munch
sought water cures and rest; painted
en plein air, there is sand mixed in the paint |
In the glass-enclosed Michael Conforti Pavilion:
Humane Ecology: Eight Positions:
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Our Culture Is Based on Relationships with
All Our Relatives (2023, by Carolina Caycedo) |
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Blooming (Akiko and Yuko) (2023, by Carolina Caycedo)
reflects plant-human relationships as a way not only to
survive, but to thrive during periods of oppression |
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Blooming includes two haikus written by women in the
Japanese internment camps (this is the reverse side) |
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In Yarrow We Trust (2023, by Carolina Caycedo) suggests
that absent legal access to abortion, one can rely on plants |
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| The Conforti Pavilion overlooks a three-tiered water feature |
Next: The Clark Museum Building.
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