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📩 Respond now? ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌ ‌‌   [Estefani, 21 years]( Estefani, 21 Hey there, I've sent you something intriguing in your inbox and eagerly await your reply 😉 Let's make this interesting, shall we? [Check Your Inbox!]( [Spdate]( This letter was sent to {EMAIL}. If you do not want to receive notifications from Spdate, go to [notification settings](. Spdate, Trust Company Complex, Ajeltake Road, Ajeltake Island, Majuro, Republic of the Marshall Islands MH 96960     Edvard Munch (/mʊŋk/ MUUNK,[1] Norwegian: [ˈɛ̀dvɑɖ ˈmʊŋk] ⓘ; 12 December 1863 – 23 January 1944) was a Norwegian painter. His 1893 work, The Scream, has become one of Western art's most acclaimed images. His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the Royal School of Art and Design in Kristiania (today's Oslo), Munch began to live a bohemian life under the influence of the nihilist Hans Jæger, who urged him to paint his own emotional and psychological state ('soul painting'); from this emerged his distinctive style. Travel brought new influences and outlets. In Paris, he learned much from Paul Gauguin, Vincent van Gogh and Henri de Toulouse-Lautrec, especially their use of color. In Berlin, he met the Swedish dramatist August Strindberg, whom he painted, as he embarked on a major series of paintings he would later call The Frieze of Life, depicting a series of deeply-felt themes such as love, anxiety, jealousy and betrayal, steeped in atmosphere. The Scream was conceived in Kristiania. According to Munch, he was out walking at sunset, when he 'heard the enormous, infinite scream of nature'. The painting's agonized face is widely identified with the angst of the modern person. Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would eventually command the fourth highest nominal paid for a painting at auction. Self-Portrait with Palette (1926). Currently on view at the Clark Art Institute As his fame and wealth grew, his emotional state remained insecure. He briefly considered marriage, but could not commit himself. A mental breakdown in 1908 forced him to give up heavy drinking, and he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city's museums. His later years were spent working in peace and privacy. Although his works were banned in Nazi-occupied Europe, most of them survived World War II, securing him a legacy. Life Childhood Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie, and three younger siblings: Peter Andreas, Laura Catherine, and Inger Marie. Laura was artistically talented and may have encouraged Edvard and Sophie. Edvard was related to the painter Jacob Munch and the historian Peter Andreas Munch.[2] The family moved to Oslo (then called Christiania and renamed to Kristiania in 1877) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877.[3] After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories and the tales of the American writer Edgar Allan Poe.[4] As Edvard remembered it, Christian's positive behavior towards his children was overshadowed by his morbid pietism. Munch wrote, "My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born."[5] Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, Edvard's poor health, and the vivid ghost stories helped inspire his macabre visions and nightmares; the boy felt that death was constantly advancing on him.[6] One of Munch's younger sisters, Laura, was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies—the heritage of consumption and insanity."[7] Christian Munch's military pay was very low, and his attempts to develop a private side practice failed, keeping his family in genteel but perennial poverty.[3] They moved frequently from one cheap flat to another. Munch's early drawings and watercolors depicted these interiors, and the individual objects, such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch's interests.[8] At 13, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils.[9] Mental health Despair by Edvard Munch (1894) displays emotion that could be seen as related to dissociation or depression in borderline personality disorder. Edvard Munch had severe mental health difficulties. He is believed to have had borderline personality disorder, a mental health disorder characterized by fear of abandonment, chronic feelings of emptiness, impulsive behavior, and various other symptoms.[10][11] Munch also displayed alcoholism, a trait often associated with impulsivity in BPD.[a] Studies and influences Self-Portrait with Skeleton Arm, 1895, Munch Museum, Oslo In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and mathematics. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies.[12] The following year, much to his father's disappointment, Munch left the college determined to become a painter. His father viewed art as an "unholy trade", and his neighbors reacted bitterly and sent him anonymous letters.[13] In contrast to his father's rabid pietism, Munch adopted an undogmatic stance towards art. He wrote his goal in his diary: "In my art I attempt to explain life and its meaning to myself."[12] In 1881, Munch enrolled at the Royal School of Art and Design of Kristiania, one of whose founders was his distant relative Jacob Munch. His teachers were the sculptor Julius Middelthun and the naturalistic painter Christian Krohg.[14] That year, Munch demonstrated his quick absorption of his figure training at the academy in his first portraits, including one of his father and his first self-portrait. In 1883, Munch took part in his first public exhibition and shared a studio with other students.[15] His full-length portrait of Karl Jensen-Hjell, a notorious bohemian-about-town, earned a critic's dismissive response: "It is impressionism carried to the extreme. It is a travesty of art."[16] Munch's nude paintings from this period survive only in sketches, except for Standing Nude (1887). They may have been confiscated by his father.[17] Impressionism inspired Munch from a young age.[18] During these early years, he experimented with many styles, including Naturalism and Impressionism. Some early works are reminiscent of Manet. Many of these attempts brought him unfavorable criticism from the press and garnered him constant rebukes by his father, who nonetheless provided him with small sums for living expenses.[16] At one point, however, Munch's father, perhaps swayed by the negative opinion of Munch's cousin Edvard Diriks (an established, traditional painter), destroyed at least one painting (likely a nude) and refused to advance any more for art supplies.[19] Munch also received his father's ire for his relationship with Hans Jæger, the local nihilist who lived by the code "a passion to destroy is also a creative passion" and who advocated suicide as the ultimate way to freedom.[20] Munch came under his malevolent, anti-establishment spell. "My ideas developed under the influence of the bohemians or rather under Hans Jæger. Many people have mistakenly claimed that my ideas were formed under the influence of Strindberg and the Germans ... but that is wrong. They had already been formed by then."[21] At that time, contrary to many of the other bohemians, Munch was still respectful of women, as well as reserved and well-mannered, but he began to give in to the binge drinking and brawling of his circle. He was unsettled by the sexual revolution going on at the time and by the independent women around him. He later turned cynical concerning sexual matters, expressed not only in his behavior and his art, but in his writings as well, an example being a long poem called The City of Free Love.[22] After numerous experiments, Munch concluded that the Impressionist idiom did not allow sufficient expression. He found it superficial and too akin to scientific experimentation. He felt a need to go deeper and explore situations brimming with emotional content and expressive energy. Under Jæger's commandment that Munch should "write his life", meaning that Munch should explore his own emotional and psychological state, the young artist began a period of reflection and self-examination, recording his thoughts in his "soul's diary".[23] This deeper perspective helped move him to a new view of his art. He wrote that his painting The Sick Child (1886), based on his sister's death, was his first "soul painting", his first break from Impressionism. The painting received a negative response from critics and from his family, and caused another "violent outburst of moral indignation" from the community.[24] Only his friend Christian Krohg defended him: He paints, or rather regards, things in a way that is different from that of other artists. He sees only the essential, and that, naturally, is all he paints. For this reason Munch's pictures are as a rule "not complete", as people are so delighted to discover for themselves. Oh, yes, they are complete. His complete handiwork. Art is complete once the artist has really said everything that was on his mind, and this is precisely the advantage Munch has over painters of the other generation, that he really knows how to show us what he has felt, and what has gripped him, and to this he subordinates everything else.[25] Munch continued to employ a variety of brushstroke techniques and color palettes throughout the 1880s and early 1890s, as he struggled to define his style.[26] His idiom continued to veer between naturalistic, as seen in Portrait of Hans Jæger, and impressionistic, as in Rue Lafayette. His Inger on the Beach (1889), which caused another storm of confusion and controversy, hints at the simplified forms, heavy outlines, sharp contrasts, and emotional content of his mature style to come.[27] He began to carefully calculate his compositions to create tension and emotion. While stylistically influenced by the Post-Impressionists, what evolved was a subject matter which was symbolist in content, depicting a state of mind rather than an external reality. In 1889, Munch presented his first one-man show of nearly all his works to date. The recognition it received led to a two-year state scholarship to study in Paris under French painter Léon Bonnat.[28] Munch seems to have been an early critic of photography as an art form, and remarked that it "will never compete with the brush and the palette, until such time as photographs can be taken in Heaven or Hell!"[29] Munch's younger sister Laura was the subject of his 1899 interior Melancholy: Laura. Amanda O'Neill says of the work, "In this heated claustrophobic scene Munch not only portrays Laura's tragedy, but his own dread of the madness he might have inherited."[30]