Edvard Munch: The Modern Eye @ Tate Modern

テート・モダンで新しく始まった「Edvard Munch: The Modern Eye」展(6月28日〜10月14日)は、エドヴァルド・ムンクの20世紀の作品を集めた展覧会で、主にオスロのムンク美術館から貸し出された、60点の絵画と映像・写真作品を展示している。ノルウェー出身のムンクは19世紀象徴主義の画家で、20世紀初頭のドイツ表現主義にも影響を与えたことで知られる。残念ながら彼の代表作である「叫び」の展示はないけれど、ムンクの作品の特徴である同じテーマの繰り返し、セルフ・ポートレートへの執着、そして映画や写真といった当時としては画期的なメディアや技術の作品への影響にスポットを当て、違った角度から彼の作品に光を当てている。

ムンクは、「The Sick Child(病める子、1885–1927)」や「Girls on the Bridge (橋の上の少女たち、1902–27。写真上)」など、長年に渡って、同じモチーフを使用して違うバージョンの作品を多く制作した。写真を用いて描いた、「Self-portrait: Between the Clock and the Bed (自画像:時計とベッドの間、1941)」などのセルフ・ポートレートも、繰り返し描かれたテーマの一つ。また彼の作品には、顕著な前景や強調された対角線など、20世紀に発展した映画や写真技術の影響も多く見られ、「Workers on their Way Home (帰途につく労働者たち、1913–14)」に見られるような、人物像がこちらに向かってくるかのような視覚トリックや、「The Artist and his Model(画家とモデル、1919–21)」における、劇場の舞台の照明効果なども、作品に取り入れた。1930年代に入り、病気によって視力が衰えると、その視力の衰えの影響を反映した作品を描いている。


Tate Modern’s new exhibition “Edvard Munch: The Modern Eye” (Jun 28 – Oct 14) examines the work of Norwegian painter Edvard Munch (1863–1944) from the 20th century, including 60 paintings as well as his work in film and photography, many from the Munch Museum in Oslo – though his best known work of “The Scream (1893) is missing. Munch has traditionally been portrayed as a 19th-century symbolist or pre-expressionist who influenced German Expressionism in the early 20th century. This exhibition shows us his works from a different angle and highlights his use of single motifs, his preoccupation with self-portraiture, and the influence of contemporary media on his work.

Munch often repeated a single motif over years in order to re-work it and created several different versions, such as The Sick Child (1885–1927) and Girls on the Bridge (1902–27: in the photo above). He adopted photography in the early 20th century and focused on self-portraits, which he obsessively repeated, such as in Self-portrait: Between the Clock and the Bed (1941). Influence by technological developments in cinema and photography can be seen on much of his works, such as use of prominent foregrounds and strong diagonals, and the visual trick of figures moving towards the spectator as in Workers on their Way Home (1913–14). He also created striking effect in some of his works such as The Artist and his Model (1919–21), using electric lighting on theatre stages. In the 1930s he developed an eye disease and made works which charted the effects of his degenerating sight. 

Many of his works on display are not as shocking and dreadful as The Scream, but his paintings with dynamic composition and use of deep colours scream out the same pain and anguish Munch had suffered through his life. Understated yet powerful exhibition, and I like it. → more photos: BBC


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