A new exhibition at the Tate Modern in London explores the relationship of the Norwegian painter Edvard Munch in film and photography, which reveals an unknown facet of the artist as a lover of new technologies.
Edvard Munch: The Modern Eye , organized in collaboration with the Centre Pompidou in Paris and the Munch Museum in Oslo, breaks the image of Munch as an artist rooted in the nineteenth century and places it squarely in the twentieth, in full modernity.
Thus, the sample, which includes sixty paintings and fifty photographs taken by the artist, as well as some films, focuses on his work, on the last century, when he experimented with new ways of capturing the image.
“The techniques of cinema and photography are reflected in some of his paintings, which have marked diagonal or moving figures escaping the plane”, said one of the curators of the exhibition, Angela Lampe, in a presentation to the press .
Example of this is experimentation with new angles coming home Workers (1913-14), where a group of workers moving towards the viewer, or the yellow trunk (1912), which presents a tree trunk in the middle of a forest lying in a powerful diagonal.
The exhibition, which opens on Thursday and runs until October 14, also includes some iconic works of Munch, reflecting his deep spiritual anxiety and agitation.