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愛德華·蒙克(Edvard Munch,1863年12月12日-1944年1月23日),挪威表現主義畫家、版畫複製匠,現代表現主義繪畫的先驅。

愛德華·蒙克繪畫帶有強烈的主觀性和悲傷壓抑的情調。他對心理苦悶的強烈的,呼喚式的處理手法對20世紀初德國表現主義的成長起了主要的影響,其主要作品有《吶喊》,《生命之舞》。

愛德華·蒙克(著名畫家)
出生 1863年12月12日
雷登
國籍 挪威
別名 Edvard Munch
職業 畫家、版畫複製匠
知名於

對20世紀初德國表現主義的成長起了主要的影響,現代表現主義繪畫的先驅。

《女人三階段》
知名作品吶喊
生命之舞
《卡爾約翰街的夜晚》
聖母
《女人三階段》

目錄

目錄

1人物生平

2人物生活

3人物影響

4主要作品

5風格特點

6人物評價

人物生平

早年經歷

1863年12月12日,愛德華·蒙克出生於挪威雷登在奧斯陸長大。愛德華·蒙克的父親患有精神病,他向他的孩子們灌輸了對地獄的根深蒂固的恐懼,他一再告訴他們, 如果他們在任何情況下、以任何方式犯有罪孽,他們就會註定被投入地獄,沒有任何寬恕的機會。

1879年 ,愛德華·蒙克為成為一名工程師而進工學院念書受印象主義畫風的影響,然而,頻繁的患病中斷了他的學業。

1880年,愛德華·蒙克成為一名畫家而離開工學院。

1881年,愛德華·蒙克考進了奧斯陸皇家藝術和設計學院,他的老師是雕刻家朱利厄斯·米德爾頓自然主義畫家克里斯蒂安·克羅格

1885年,愛德華·蒙克前往巴黎。他的作品開始顯示出法國畫家的影響;一開始是印象派,接着是後期印象派,然後是新藝術造型。愛德華·蒙克的繪畫儘管風格上是後期印象派的,但在主題上卻是象徵派的,愛德華·蒙克的繪畫內容在於刻畫內心世界而不是外在現實。

中年經歷

 
原圖鏈接 圖來自《病中的孩子》

1889年改用傳統的畫法創作《病孩》變體畫《春》,從而獲得獎學金去法國留學,從師L.博納。在法國,他在研究印象主義畫法的基礎上,轉而對後印象主義和納比派發生興趣。他發現線條和色彩有強烈的表現力,試圖用它們畫出活生生的人們,他們的呼吸、感覺、受苦受難並彼此的相愛。

1892年 愛德華·蒙克應邀參加柏林藝術家聯盟在11月份舉行的畫展。愛德華·蒙克的繪畫成了苦澀的爭論對象,畫展在一星期後結束。在柏林,愛德華·蒙克成了一個國際圈子裡的一員,裡面有作家、藝術家和評論家,包括挪威劇作家亨利·易卜生瑞典戲劇家奧古斯特·史特林堡。愛德華·蒙克為易卜生的幾個劇本設計了布景。

1893年1893年12月,愛德華·蒙克在柏林著名的菩提樹下大街開畫展。和其它作品一起,愛德華·蒙克出展了題為"愛的研究系列",由六幅畫所組成。這是他此後命名為"生命的飾帶 以 生命、愛情和死亡的詩"組畫的起點。它包括深深地沉浸於大氣的主題《風暴》、《月光》和《星夜》。其它主題有揭示愛的陰暗面的,比如《玫瑰與阿美莉》和《吸血鬼》。《病室里的死亡》則以死亡為主題,基於愛德華·蒙克對姐姐蘇菲之死的回憶。

1894年,"生命的飾帶"加進了《焦躁》、《灰燼》、《聖母》和《女人三階段》作品集。在世紀之交之際,愛德華·蒙克完成了他的"生命的飾帶"組畫系列。

晚年經歷

 
原圖鏈接 圖來自《生命之舞》

1908年秋,他的焦慮變得深刻並在丹尼爾·賈可布遜博士的診所住院接受治療。醫院裡施行的休克療法改變了他的個性。

1909年愛德華·蒙克回到挪威,更多地表現出對大自然的興趣,他的作品變得更富於色彩,減少了悲觀的成分。在納粹統治期間,愛德華·蒙克的作品被貼上了"頹廢藝術"的標籤,從德國的各個美術館撤了下來。反納粹主義的愛德華·蒙克來說是很傷心的,因為他把德國看作為他的第二祖國。

1944年1月23日,愛德華·蒙克於奧斯陸附近的艾可利與世長辭。他向奧斯陸捐贈了1000幅油畫,15400張版畫,4500件素描和水彩畫,還有6件雕刻作品。後來為紀念愛德華·蒙克,建造了愛德華·蒙克美術館[1]

人物生活

愛德華·愛德華·蒙克是畫家雅各布·愛德華·蒙克歷史學家彼得·安德烈·愛德華·蒙克的親戚。母親勞拉在1868年死於肺結核,母親死後小愛德華·蒙克由父親克里斯蒂安·愛德華·蒙克單獨撫養。父親是位醫生,篤信基督教。幼年喪母,姐姐被肺病奪去生命,妹妹患精神病,童年時代的不幸對其一生的創作有深刻的影響。[2]


人物影響

歷史發展

 
原圖鏈接 圖來自《坐在爿木上的的少女》

在當時哲學和美學思潮影響下,他努力發掘人類心靈中的各種狀況,表現疾病、死亡、絕望、情愛等主題。因此,他的創作有"心靈的現實主義"的稱號。由於受到保守勢力的攻擊,很快被封閉,但對德國青年畫家以很大的刺激,推動了表現主義運動的產生。[3]


思想傳播

愛德華·蒙克通過主題來表現他切身經歷的對生存和死亡的感受。每一幅畫都無與倫比地強烈地傳達着畫家的感覺和情緒,被描繪的具體對象的細節被簡化,而情緒則被誇張,對象本身成為一種所要表現的情緒的載體,雖然它們依然還是具象的。這些畫具有永恆的震懾心靈的力量。在這一切的背後,我們還可以看見那個"世紀末"的景象,那種迷途的欲望深淵和無法逃脫的死亡陰影的怪圈,生命的焦躁和無奈交織在一起。愛德華·蒙克作品的驚人表現力量來自於對藝術家內心世界的不加掩飾的忠實表達,愛德華·蒙克的畫是用整個心靈來創作的。

主要作品

作品名 年份

Øvre Foss 1880

Small Lake with Boat 1880

Horse and Wagon in front of Farm Buildings 1880

Autumn Work in the Field 1880

Landscape with Woman Walking by a Lake 1880

Landscape with Trees and Water 1880

Autumn in the Forest 1880

Horse and Cart on a Country Road 1880

Still Life with Pipe and Bibles 1880

View from Fossveien 1880-81

View from Fossveien 1881

Winter Landscape with House and Red Sky 1881

Potted Plant on the Window-Sill 1881-82

Potted Plant 1881-82

The Living-Room of the Misses Munch in Pilestredet 61 1881

From Vestre Aker 1881

Hakloa in Maridalen 1881

Maridalsveien in Nydalen 1881

Houses in Maridalen 1881

From Maridalen 1881

Akerselva 1881

Landscape with Woman and Child 1881

Landscape with a Small House and Two People 1881

Landscape with Lake and Forest 1881

From Bunnefjorden 1881

From Sandvika 1881

Man Rowing towards Land 1881

Bay with Boat and House 1881

Man and Woman in Boat 1881

Fisherman by the Water 1881

Christian Munch on the Couch 1881

Christian Munch on the Couch 1881

Study of a Landscape 1881

View of Grüner's Garden 1881

Gamle Aker Church 1881-82

Gamle Aker Church 1881

Gamle Aker Church 1881

Gamle Aker Church 1881

View from Fossveien 7 towards Bergfjerdingen 1881

People on the Road in Wet Snow 1881

Goblin with Christmas Porridge 1881

Still Life with Jar, Apple, Walnut and Coconut 1881

Øvre Foss in Winter 1881-82

Boy in Snow 1881-82

View of the City on a Winter's Day 1882

Self-Portrait 1882

Laura Munch 1882

Laura Munch 1882

Olaf Rye's Square towards South East 1882

View across Olaf Rye's Square 1882

Olaf Rye's Square towards South East 1882

Landscape with Waterfall and House 1882

Evening Atmosphere at Sea 1882

Landscape with a Small Waterfall 1882

Spring Landscape 1882

Stream in Spring 1882

Karen Bjølstad 1882-83

Man's Head with Beard 1882-83

The Errand Boy 1882-84

Garden with Red House 1882


Garden with Red House 1882

By the Garden Table 1882

Akerselva by Slåmotgangen 1882

Inger by the Window 1882

Akerselva by Nedre Foss 1882

Akerselva 1882

Birch Trees with Woman Walking 1882

Birch Trees in the Autumn 1882

From Vestre Aker 1882

Birch Trees and Man Carrying Twigs 1882

Autumn in Vestre Aker 1882

Woman on a Country Lane 1882


Two Boys on a Country Lane 1882

Thorvald Torgersen 1882

Thorvald Torgersen 1882

Head of a Boy 1882

Andreas Reading 1882

Andreas Reading 1882

Andreas Reading 1882

Self-Portrait 1882

Drive at Vaterland 1882

From Saxegårdsgate 1882

Laura Munch 1883

Otto Linthoe 1883


Study of a Man's Head 1883

Study of an Old Man's Head 1883

Head of an Old Man with Beard 1883

Study of an Old Man's Head 1883

Afternoon at Olaf Rye's Square 1883

Street Corner on Karl Johan, Grand Café 1883

Christian Munch on the Couch 1883

Landscape from Asker 1883

Autumn in Asker 1883

Andreas by the Window 1883

Andreas Reading 1883

The Dome of Trinity Church 1883

Study of a Head 1883

Early in the Morning 1883

Andreas Singdahlsen 1883

Hjalmar Borgstrøm 1883

Portrait of a Woman 1883

Karen Bjølstad in the Rocking Chair 1883

Around the Paraffin Lamp 1883

At the Coffee Table 1883


At Supper 1883

The Infirmary at Helgelandsmoen 1884

Fence in the Forest 1884

Two People on the Way to the Forest 1884

Morning 1884

Christian Munch 1884

Portrait Studies 1884

Inger Munch in Black 1884

Street in Winter 1885

Ball 1885

Tête-à-tête 1885

Karl Johan 1885

Girl's Head 1885

Dagny Konow 1885

Study of an Old Man's Head 1885

Fredrik Lidemark 1885

Karl Jensen-Hjell 1885

Klemens Stang 1885

Christian Munch with Pipe 1885

Karen Bjølstad 1885

Jørgen Sørensen 1885

Andreas Munch 1885


Cabaret 1885

The Sickroom 1885

The Sick Child 1885

Red-Haired Girl with White Rat 1886

Girl at the Piano 1886

Self-Portrait 1886

Andreas Munch Studying Anatomy 1886

Afternoon Nap 1886

Boat with Three Boys 1886

Man on the Veranda 1886

From Hisøya near Arendal 1886

Woman and Children in Arendal 1886

Thorvald Torgersen 1886

Puberty 1886

The Day After 1886

Seated Young Girl 1887

Betzy Nilsen 1887

Halvard Stub Holmboe 1887

Jacob Torkildsen 1887

Forest Landscape with Small Lake 1887

Veierland near Tønsberg 1887

Two Men by the Window 1887

Law 1887

Kristiania Bohemians 1887

Self-Portrait 1888

Marius Selmer 1888

Bendix Lange 1888

Beach 1888

The Tønsberg Fjord 1888

On the Pier 1888

Man Binding Fishnet 1888

Karen Bjølstad 1888

Evening 1888

Summer Day on the Pier 1888

Laura and Inger in the Summer Sun 1888

Evening 1888

Inger in Sunshine 1888

At the General Store in Vrengen 1888

Andreas Bjølstad 1888

Aasta Carlsen 1888

Man Standing in the Doorway 1889

Karl Dørnberger 1889

Charlotte Dørnberger 1889

Georg Stang 1889

John Hazeland on his Deathbed 1889

Spring 1889

Hans Jæger 1889

From Karl Johan 1889

Music on Karl Johan 1889

Beach Landscape fromÅsgårdstrand 1889

Beach 1889

From Åsgårdstrand 1889

Beach Landscape 1889

Shore 1889

Summer Night. Inger on the Beach 1889

Summer Evening 1889

Summer 1889

Summer in Åsgårdstrand 1889

Morten Damme's House near Åsgardstrand 1889

Standing Female Nude 1889

A French Tavern (Two Men and a Woman) 1890

The Canal near Paris (with a Small Streamboat) 1890

A Woman (in Half-figure) with Landscape (Returned from Victoria terrasse) 1890

A Small Beach Study 1890

Night in Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

The Seine at Saint-Cloud 1890

At the Wine Merchant's 1890

In the Bar 1890

In the Café 1890

Norwegian Spring Landscape 1890

Landscape 1890

The Streamboat Arrives 1890

Beach 1890

Spring Day on Karl Johan 1890

Sunny Day in Åsgårdstrand 1890

Garden Path 1890

Woman in Evening Landscape 1890 Landscape 1890

View from Hauketo 1890

View from Hauketo 1890

Landscape 1890

The Absinth Drinkers 1890

Two Children 1890

Under the Palm Trees in Nice 1891

Afternoon on the Promenade des Anglais 1891

Morning on the Promenade des Anglais 1891

Sunny Day in Nice 1891

Rooftops in Nice 1891

Night in Nice 1891

Fisherboy from Nice 1891

Boy's Head 1891

Young Woman in Blue 1891

Young Woman in Blue 1891

Model Scratching her Arm 1891

Rue Lafayette 1891

Rue de Rivoli 1891

Sunday in Åsgardstrand 1891

Young Blond Girl 1891

Summer Evening in Åsgardstrand 1891

In Open Air 1891

Summer 1891

Eroticism on a Summer Evening 1891

Karl Johan in the Rain 1891

Evening. Melancholy 1891

Woman in Blue against Blue Water 1891

Old Fisherman 1891

Pine Forest 1891

Summer Day in the Forest 1891

Forest Landscape 1891

Landscape in Moonlight 1891

Woman by the Balustrade 1891

Inger in a White Blouse 1891

no:Jappe Nilssen 1891

Arve Arvesen 1891

Gunnar Heiberg 1891

Helge Rode 1891

Olga Buhre 1891

Alexandra Thaulow 1891

Kiss by the Window 1891

The Day After 1891


Munch Museum, Oslo, Norway 1892

Childhood Memory 1892

Gamblers in Monte Carlo 1892

Gamblers in Monte Carlo 1892

At the Roulette Table in Monte Carlo 1892

Sick Mood at Sunset. Despair 1892

Cypress in Moonlight 1892

Kiss by the Window 1892

The Kiss 1892

The Girl by the Window 1892

Woman Combing her Hair 1892

Woman Looking in the Mirror 1892

After the Bath 1892

From the Riviera 1892

From the Riviera 1892

Moonlight by the Mediterranean 1892

A Pine 1892

Trees by the Mediterranean 1892


From the Riviera 1892

Men Flocking round Women in Light Clothing 1892

Forest 1892

Moonlight on the Beach 1892

Mystery on the Shore 1892

Mystery on the Shore 1892

Two Human Beings. The Lonely Ones 1892

Melancholy 1892

Night in Saint-Cloud 1892

Night in Saint-Cloud 1892-93


Night in Saint-Cloud 1892

Vision 1892

The Water Lillies 1892-93

Evening on Karl Johan 1892

From Nordstrand 1892

On the Veranda 1892

Inger by the Window 1892

Inger in Black and Violet 1892

Seated Young Woman 1892

Autumn Rain 1892

Jakob Bratland 1892

Ludvig Meyer 1892

Thor Lütken 1892

Ragnhild andDagny Juel 1892-93

August Strindberg 1892

Night in Saint-Cloud 1893

The Girl by the Window 1893

Study of a Model 1893

Separation 1893

Woman with Red Hat 1893-94

Symbolic Study 1893-94

Portrait of a Man 1893-94

Woman's head against a red Background 1893-94

Self-Portrait under the Mask of a Woman 1893

Seated Nude and Grotesque Masque 1893

Sunrise in the Harbour 1893-94


Rosa and Amelie 1893

Sunrise in Åsgårdstrand 1893-94

Summer Night 1893

Melancholy 1893

Death at the Helm 1893

Summer Night. Mermaid 1893

Summer Night's Dream. The Voice 1893

Starry Night 1893


Starry Night 1893

Moonlight 1893

House in Moonlight 1893-95

The Storm 1893

Death and Spring 1893

The Angel of Death 1893

By the Deathbed. Fever 1893

Death in the Sickroom 1893

Death in the Sickroom 1893

Death in the Sickroom 1893

Vampire 1893

The Scream 1893

The Scream 1893

Vampire 1893

Vampire 1893

The Hands 1893-94

Dagny Juel Przybyszewska 1893

Helge Bäckström 1893

Minchen Torkildsen 1893

Ragnhild Bäkström 1894

Botho Graf Schwerin 1894

Ebehard von Bodenhausen 1894

Julius Meier-Graefe 1894

Separation 1894

Death and Life 1894

Puberty 1894

Puberty 1894-95

The Day After 1894

Vampire 1894

Selma Fontheim 1894

Selma Fontheim 1894

Nora Mengelberg 1894

Ludvig Meyer's Children 1894

Stanislaw Przybyszewski 1894

Inger in a Red Dress 1894

Bathing Women 1894

Bathers 1894

Bathing Boys 1894

Melancholy 1894

Melancholy 1894-96

Woman. Sphinx 1894

Woman 1894

Anxiety 1894

Despair 1894

Madonna 1894

Madonna 1894-95

Madonna 1895

Madonna 1895-97

Madonna 1895-97

Berlin Model 1895

Cabaret 1895

The Scream 1895

Vampire 1895

The Smell of Death 1895

The Smell of Death 1895

At the Deathbed 1895

Vampire 1895

Ashes 1895

Jealousy 1895

Beach in Åsgårdstrand 1895

Moonlight 1895

Self-Portrait with Cigarette 1895

Stanislaw Przybyszewski 1895

Oscar and Ingeborg Heiberg 1895-96

Half-Nude in a Black Skirt 1896

Study of a Nude 1896

Young Woman Washing herself 1896

Seated Nude against a Red Background 1896

Seated Nude with her Back Turned 1896

The Mermaid 1896

Summer Landscape 1896

The Sick Child 1896

Separation 1896

Summer Night. The Voice 1896

The Girl by the Window 1896-97

Bathing Woman 1896-97

The Kiss 1896-97

Women in a Swimming Pool 1896-97

Paul Herrmann and Paul Contard 1897

The Kiss 1897

The Kiss 1897

Inheritance 1897-99

Women in Hospital 1897

Mother and Daughter 1897-99

Two Women in a Landscape 1897-99

Old Man with a Beard 1897-99

Brothel Scene 1897-99

Hospital Ward 1897-99

Bathing Boys 1897-98

Bathing Boys 1897-99

Bathing Girls 1897-99

Bathing Children 1897-99

Bathing Boys 1897-99

Autumn 1897-98

Marie Helene Holmboe 1898


Female Portrait 1898-99

Dark-Haired Man and Red-Haired Woman 1898-99

Holger Drachmann 1898

Henrik Ibsenat theGrand Café 1898

Study of a Model 1898

Half-Nude in a Blue Skirt 1898

Nude 1898

Nude 1898

Two Women. Symbolic Study 1898

Sitting Nude by the Beach 1898

Man and Woman 1898

Nude in Profile towards the Right 1898

Metabolism 1898-99

Tulla Larsen 1898-99

Tulla Larsen 1898-99

Father and Son 1898

Seated Nude and Three Male Heads 1898-99

Tragedy 1898

Jealousy in the Bath 1898

Beach 1898

The Rainbow 1898

Woman by the Sea in Åsgardstrand 1898

House with Red Virginia Creeper 1898-99

House with Red Virginia Creeper 1898-99

Red Virginia Creeper 1898-1900

The Son 1904

The Coffin is Carried Out 1898-1900

Boulevard in Paris 1898-1900

Winter 1899-1900

Winter in the Woods, Nordstrand 1899

Death and the Child 1899

Death and the Child 1899

Landscape 1899

The Garden 1899

Munch's House and Studio in Åsgardstrand 1899

Munch's House in Åsgårdstrand 1899

Dark Spruce Forest 1899


風格特點

愛德華·蒙克多以生命、死亡、戀愛、恐怖和寂寞等為題材,用對比強烈的 線條、色塊、簡潔概括誇張的造型,抒發自己的感受和情緒;他的畫風是德國和中歐的表現主義形成的前奏。

愛德華·蒙克的早期油畫《病孩》、《在靈床旁》、《母親之死》,多是童年和少年時代生活的回憶。1890年的油畫《聖克盧之夜》和1892年的油畫《卡爾.約翰街的夜晚》標誌着他風格的轉折,顯示出他表現主義畫家的特質。90年代最有代表性的作品是《春情》和《吶喊》,前者描繪人對幽閉的恐懼,後者刻畫人對孤獨與死亡的恐怖感。他於1894年開始從事版畫創作,在木刻、石版、銅版畫方面,都有獨特的創造。他的版畫題材多取自於油畫,其中以《生命》組畫最為出色,被他自己稱為生命、愛和死的詩歌。

在愛德華·蒙克的畫家生涯中,他多次曾改變藝術風格。在1880年代,愛德華·蒙克是自然派半印象派。1892年,愛德華·蒙克樹立了具個人特色的綜合派原始畫風,在此色彩成為一種象徵,亦是種具有承載功能的元素。1890年代,愛德華·蒙克傾向選擇景深較淺的作畫空間,他經常把畫中的人物安置在前台。

愛德華·蒙克一直想表現人物的內心的心理狀態,出現在他畫中的人物呈現了最能表現這種狀態的姿勢,這種安排讓愛德華·蒙克的畫帶來一種好像人物、空氣、記憶、動作和時間在一霎剎那間凝固的感覺,那也許正是人物內心活動達到頂峰的一瞬間。

愛德華·蒙克所畫的人物,猶如舞台劇的各個角色,很可能每種特定的姿勢就代表一種特定情緒,類似於某種身體語言。由於愛德華·蒙克所畫的人物都承擔着表現一種特定心理狀態的使命,所以他創造的男人和女人不是現實的。愛德華·蒙克堅稱,印象派並不適合於自己的藝術。他對描寫現實的任意一個斷面也不感興趣,他要描寫的是那種充滿了情緒內涵的,且具有巨大的傳神力的狀態。為了達到這個目的,愛德華·蒙克殫精竭慮地構思,他的作品創造了緊張氣氛。[4]

人物評價

 
原圖鏈接 圖來自《橋上的少女》

愛德華·蒙克的作品筆觸大膽奔放、色彩艷麗豐富,但卻給人強烈的刺激感,充滿着緊張不安、壓郁悲傷的情緒。愛德華·蒙克所描繪的世界是人類複雜的精神世界,他刻意表現死亡、憂鬱和孤獨,描寫上世紀末的藝術家在充滿矛盾與痛苦的現實中,其孤獨的心靈對人生產生的懷疑和焦慮。

藝術史家稱愛德華·蒙克為"世紀末"的藝術家,因為他的作品反映了歐洲整整一代人的精神生活面貌。在愛德華·蒙克生活的時代,再沒有別的藝術能夠像他那樣深入到人的靈魂之中,把那心靈的美與丑一併展現給世人。也沒有人敢於他那樣赤裸裸地描寫人類本能的醜惡,使善良與罪惡並存,讓美麗與醜陋共生。[5]

參考資料