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Edvard Munch Quotes & Sayings
33 entries tagged including 9 subtopics.
Last updated Sep 2020
Edvard Munch Topics
From my rotting body, flowers shall grow and I am in them and that is eternity.
Youth must go ahead and prosper. These young painters are all very talented people, but they all paint frescoes.
Without anxiety and illness I should have been like a ship without a rudder.
When I paint a person, his enemies always find the portrait a good likeness.
To die is as if one's eyes had been put out and one cannot see anything any more. Perhaps it is like being shut in a cellar. One is abandoned by all. They have slammed the door and are gone. One does not see anything and notices only the damp smell of putrefaction.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
The rich man who gives, steals twice over. First he steals the money and then the hearts of men.
The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose.
The colors live a remarkable life of their own after they have been applied to the canvas.
Some colors reconcile themselves to one another, others just clash.
Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.
Oil-painting is a developed technique. Why go backwards?
No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul.
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
In my childhood I always felt that I was treated unjustly, without a mother, sick, and with the threat of punishment in Hell hanging over my head.
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available.
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