Carol Smith and Stephen Powell visited the Münch exhibition at Tate Britain in London. They went separately, but thought it would be interesting to write reviews and post them together as a way to show that there are many points of view on any exhibition.
Did not know what to expect from the exhibition, I always avoid reading the preview before so as not to get pre-conceived ideas. Personally, I much preferred Münch’s figurative works than anything else and it is quite possible I may never see many of these paintings again so I am tempted to visit the exhibition at least one more time before it finishes on 14 October. I have made three sketches: Murder on the Road, 1919; Virginia Creeper 1898; and Self Portrait 1916 and the main reason for these are due to the compositional method he uses, which is in many of his works where he places a head or a figure or a group of the figures right at the very front, projecting way ahead of the picture plane which somehow seems to share a presence with the viewer.
Read Stephen’s review: Edvard Münch: The Modern Eye (pdf)
In this empathetically curated exhibition, we meet Münch in the guise of a great modernist who was continually engaging with, and responding to, new scientific understanding and technical innovation, and applying it to his art. The curator shows us a new side to the man that is rarely discussed, overshadowed as it is by the image of the tragic depressive who created the iconic ‘scream’.
Read Carol’s review: Edvard Münch – The Modern Eye, at Tate Modern (pdf)