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Their eyes do not meet, and their stiff bodies maintain an unhappy distance.
To the left, Larsen can be seen, golden-haired and smiling benevolently, in a white dress; on the right, she appears again, this time frowning in a black dress, her countenance as dark as the garment she wears, her eyes downcast in bleak disappointment. On a green lawn, other couples dance lustfully in what Munch had called that "deranged dance of life" - a dance he dared not join.
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Larsen longed for Munch to marry her. His Aasgaardstrand cottage, which is now a house museum, contains the antique wedding chest, made for a bride's trousseau, that she gave him. Though he wrote that the touch of her "narrow, clammy lips" felt like the kiss of a corpse, he yielded to her imprecations and even went so far as to make a grudging proposal. Then, when she came to Germany to present him with the necessary papers, he lost them. She insisted that they travel to Nice, as France did not require these documents.
Once there, he escaped over the border to Italy and eventually to Berlin in to stage The Frieze of Life exhibition. That summer, Munch returned to his cottage in Aasgaardstrand.
He sought peace, but drinking heavily and brawling publicly, he failed to find it. Then after more than a year's absence, Larsen reappeared. He ignored her overtures, until her friends informed him that she was in a suicidal depression and taking large doses of morphine. He reluctantly agreed to see her. There was a quarrel, and somehow - the full story is unknown - he shot himself with a revolver, losing part of a finger on his left hand and also inflicting on himself a less obvious psychological injury.
Prone to exaggerated feelings of persecution - in his painting Golgotha offor instance, he depicted himself nailed to a cross - Munch magnified the fiasco in his mind, until it assumed an epic scale. Describing himself in the third person, he wrote, "Everybody stared at him, at his deformed hand. He noticed that those he shared a table with were disgusted by the sight of his monstrosity. In the next few years, his drinking, which had long been excessive, grew uncontrollable.
His Self-portrait with a Bottle of Wine, in which he paints himself alone at a restaurant table, with only a plate, a wine bottle and a glass, testifies to intense disquiet. Two waiters stand behind him in the almost empty restaurant, evoking the setting in which he had read of his father's death. In the fall ofMunch collapsed in Copenhagen. Hearing hallucinatory voices and suffering paralysis on his left side, he was persuaded by his old roommate from the Saint-Cloud apartment, Emanuel Goldstein, to check himself into a private sanitarium on the outskirts of the city.
There he reduced his drinking and regained some mental stability. In May, he departed, vigorous and eager to get back to his easel. Almost half of his life remained. Yet most art historians would agree that the great preponderance of his best work was created before His late years would be less tumultuous, but at a price of personal isolation.
Reflecting this view, MoMA devotes less than a fifth of the show to his post output. Still in place, the Aula Decorations, as the murals are known, signaled Munch's new determination to look on the bright side, in this case quite literally, with a centerpiece of a dazzling sun. In newly independent Norway, Munch was hailed as the national artist, much as the then recently deceased Henrik Ibsen and Edvard Grieg served, respectively, as national writer and composer.
Along with his new fame came wealth, but not serenity. Maintaining his distance from an alternately adoring and scornful public, Munch withdrew to Ekely, an acre estate on the outskirts of Oslo that he purchased in for a sum equivalent to the price of two or three of his paintings. He sometimes defended his isolation as necessary to produce his work.Jaykae - Despa presents Meet The Artists [az-links.info5] - be83
At other times, he implied it was needed to maintain his sanity. At Ekely, Munch took up landscape painting, depicting the countryside and farm life around him, at first with joyous color, later in bleaker tones. He also returned to favorite images, producing new renditions of some of The Frieze of Life paintings. In his later years, Munch supported his surviving family members financially and communicated with them by mail, but chose not to visit them. He spent much of his time in solitude, documenting the afflictions and indignities of his advancing years.
When he was stricken with a nearly fatal influenza in the great pandemic ofhe recorded his gaunt, bearded figure in a series of self-portraits as soon as he could pick up a brush. Inafter a blood vessel burst in his right eye and impaired his vision, he painted, in such works as Self-portrait During the Eye Disease, the clot as it appeared to him - a large, irregular purple sphere.
Sometimes he gave the sphere a head and sharp beak, like a demonic bird of prey. Eventually, it flew off; his vision returned to normal. In Self-portrait Between the Clock and the Bed, which dates fromnot long before Munch's death, we can see what had become of the man who, as he wrote, hung back from "the dance of life.
On a wall behind him, his "children" are arrayed, one above the other. He employed it as an extension of anatomical drawing, to figure out how bodies move in space. Discrete images progress across the frame, forming two arcs of spindly appendages, pointy knees, hips, and elbows folding and unfolding as the boy twice propels himself through the air and lands.
A young African-American boy enters the frame from the top, headfirst. Suspended in mid-somersault, his only security is a stack of ragged mattresses piled beneath him in the street. Strauss freezes a moment that would otherwise be forgotten, stilling the fearless boy so we can examine his surroundings, marvel at the stunt, and wonder what became of him. Kodachrome was notoriously touchy, needing long exposure and tending to fade — not at all suited to photographing a hummingbird in flight.
Undaunted, Porter synchronized a strobe light to his camera. A Cure for Love tells a woeful tale of a good-natured man caught in the miseries of a loveless marriage. Indeed, so bad is the situation between husband, Trimmer, and wife, Laura, and his resident mother-in-law that he leaves home and contemplates suicide. Were you ever in love? Laura is informed that her husband has been involved in an accident. Concealed behind the sofa, Trimmer then listens to the reaction.
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The primary resolution in the play is more in keeping with a tragicomedy in that the reconciliation is unsettling. Even at reconciliation, Laura displays not so much as a glimmer of affection toward her husband.
Adhering to conventional structure, Parry does send the audience home smiling. But even the secondary resolution is slightly unusual in that it, too, attempts to defy tradition.
The plot is more complex and the comic and farcical elements more pronounced. His problem play Still Waters Run Deepadapted from the French novel Le Gendre by Charles Bernard and staged at the Olympic Theatre, was hugely successful and surprisingly candid considering that the plot focuses on adultery.
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Nonetheless, the adulterer does meet his demise in a dual. Given its theme, it is most revealing that Egg did not select this play. Clearly, the adulterous act was not his focal interest. The plot of Victims revolves around three couples: Predictably, perhaps, the wife in one marriage is attracted to the husband in the other, an attraction that is reciprocated.
Through a complicated set of circumstances, both married couples come to recognise their own worth and reconciliation occurs with possible promise for a happier marital future. However, the apparent incompatibility of the third couple, Joshua Butterby and Minerva Crane, does not auger well for future harmony. With only a week before their wedding, the antics of the dull-witted Butterby and the strong-minded Crane provide comic relief to an otherwise dull plot.
Few couples anticipating marriage could be as mismatched as Crane and Butterby.
Furthermore, she assumes that Butterby is in accord: Not only does this predict doom and gloom for the imminent marriage, it may also necessitate a revisal of chapter three.
While both plays explore the consequences of ill conceived marriages, each offers a variation on a theme: A Cure for Love depicts true domestic misery with little chance of future happiness, but Victims suggests that there is a possibility that some mismatched marriages might eventually be worked out; however, as Crane explains, some serious progressive thinking is in order to revamp the current state of marriage.
Concealed within these allusions, one comes to recognise a statement concerning a major cause of adultery: If a marriage is made for financial or social gain, as opposed to genuine love, it can only result in misery, with the likely result of adultery by one or other partner, as depicted in the central picture.
While tragic, the third scenario does offer a glimmer of hope for the future through the suggestion of change, as Crane advocates in Victims; a move toward equality would, surely, bring about a touch of equilibrium which might result in fewer business transactions to secure marriages.
Those who were well acquainted with Egg would have recognised the importance of the three theatrical and literary symbols in what is, after all, a narrative painting. Thus, it is hardly surprising that he chose allusions from theatre and literature through which to express his silent protest. There is no record of exactly when the title Past and Present was given to this triptych.
Edelstein also notes that there were four other paintings under this name during that decade. Although anonymous, it is generally accepted that Holman Hunt is the author.
This being the case, his comments on Past and Present are curious in that his own famous work on the subject of adultery, The Awakening Conscience, had also caused a flurry of activity amongst the critics. Of course, in this instance, the imminent fall is caught in time. When Holman Hunt began to express anxiety about the subject matter of The Awakening Conscience, it was Egg who encouraged him to complete it and found a sponsor to make that possible.
Cook and Alexander Wedderburn eds.