The Scream, 1893 by Edvard Munch. Munch's The Scream is an icon of modern art, the Mona Lisa for our time. As Leonardo da Vinci evoked a Renaissance ideal of serenity and self-control, Munch defined how we see our own age - wracked with anxiety and uncertainty.

Munch's The Scream is an icon of modern art, a Mona Lisa for our time. As Leonardo da Vinci evoked a Renaissance ideal of serenity and self-control, Munch defined how we see our own age - wracked with anxiety and uncertainty.

The Storm, 1893 by Edvard Munch. A violent storm at Asgardstrand is said to have inspired this picture. The force of the wind os suggested by the bending of the central tree, continued in the cloud striations above it, and the wisps of hair blown up from the head of the woman in white.

- Edvard Munch By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life. ” - Edvard Munch To die is as if one's eyes had …

The Sick Child, 1885 by Edvard Munch. The Sick Child (Norwegian: Det Syke Barn) records a moment before the death of his older sister Johanne Sophie (1862 - 1877) from tuberculosis at 15. Munch returned to this deeply traumatic event again and again in his art, over six completed oil paintings and many studies in various media, over a period of ...

Edvard Munch is a Norwegian born expressionist painter. His best-known work, The Scream , has become one of the most iconic images of world art. In the late 20th century, he played a great role in German expressionism and the art form that later followed; namely because of the strong mental anguish that was displayed in many of the pieces that ...

Anxiety, 1894 by Edvard Munch. This painting draws on two earlier departures: the anxious humanity moving forward as if driven by ominous elemental forces, as first conceived in Evening on Karl Johan Street; and a certain view of Oslo Fjord, already seen in The Scream.

Vampire, 1893 by Edvard Munch The truth is, Munch did not title this painting "Vampire." He called it "Love and Pain" and it was only later that it picked up the name and interpretation of a man locked in a vampire's embrace.

Munch scarcely deviates from the coherence of his imagery - and the later landscapes, figure studies and even some of the portraits seem to bear a direct connection to the concerns and expression of The frieze of life.

Like Starry Night by Van Gogh, Munch's Starry Night, 1893 also endows his nocturnal landscapes with animistic qualities. Sky, water, and earth, divided yet rejoined in a larger unity, are the subject of this work.