The curator is indebted to and has quoted from the following scholarly sources: Buchhart, Dieter, et. al., Edvard Munch: Signs of Modern Art, (exhibition catalogue), Fondation Beyeler, Basel, 2007; Chang, Alison W., Negotiating Modernity: Edvard Munch’s Late Figural Work, 1900-1925, unpublished Ph.D. dissertation, The University of Pennsylvania, 2010; Eggum, Arne, Munch and Photography. New Haven: Yale University Press, 1987; Frizot, Michel, “L’âme, au fond: L’activité photographique de Munch et Stringberg,” in Lumière du monde, Lumière du ciel, Visions du Nord, (exhibition catalogue), Musee d'Art moderne de la Ville de Paris, 1998; Holt, Cecilia Tyri, Edvard Munch Fotografier, Forlaget Press, 2013; Kermabon, Jacques, et. al., Pathé: Premier empire du cinéma (exhibition catalogue), Centre Georges Pompidou, Paris, 1994; Lampe, Angela and Clément Chéroux, et. al., Edvard Munch: The Modern Eye, (exhibition catalogue), Tate, London, 2007; Woll, Gerd, Edvard Munch: Complete Graphic Works, Oslo: Orfeus Publishing AS, 2012.
In this picture, Munch has exploited the effects of movement and time. His housekeeper in Warnemünde has moved during exposure and is out of focus. Munch himself is sharply rendered in the background, and at the same time barely present. He has perched on a dark sofa long enough to be registered in detail and then moved out of the camera’s range. He now appears almost as a ghost where both the couch and the back wall are visible through his body. This effect mirrors his experimentation with layered woodblock printing in his graphic work, in which figures appear embedded in wood graining.
WHEN IS A PICTURE REALLY FINISHED?
Did you know that Munch used to draw on his own photographs? Join us in turning his pictures into new motifs. Take a screenshot and draw on the picture. Share the result on Instagram by using the hastag #munchphoto