![]() ![]() The man and the woman at the seashore, the red sky, the picture with the swan. The beginnings of this series are documented in a letter Munch wrote the Danish painter Johan Rohde in March, 1893:Īt the moment I am working on a series of paintings, which by the way includes many of my paintings which Kleis exhibited-e.g. How Munch acted as his own interlocutor between his paintings and their audience can best be seen in his manipulations of the cycle of paintings he entitled “The Frieze of Life.” Consideration of the ability of the audience to recognize and comprehend the meaning of his work thereby became a necessary adjunct to the artist’s creative art. Art is viewed as a type of therapeutic confession, as the opening of his heart, and the artist’s role is to present his own emotions and psychological experiences to his viewers. 2įor Munch, art served basically to communicate an emotional state on a non-verbal level. All art, literature and music must be brought forth with your heart’s blood. I do not believe in an art which is not forced into existence by man’s need to communicate, to open his heart up to others. I can only give very slight indications of what my intentions were. It is precisely because it cannot be explained that the painting was first made. It is not possible to explain a painting. The degree to which a painting then resembles nature is unimportant. ![]() If it is possible to reveal something by altering nature, then it must be done. But in painting, as well as in literature, the means are often confused with their purpose. 1891, he wrote:Įssentially, art derives from man’s desire to communicate with others. 1 In contrast to this conception, however, Munch’s own statements demonstrate that he consciously sought and worked for popular acclaim and understanding. This legend argues that from the time he first exhibited in 1883, critics and public consistently rejected Munch’s paintings while he forthrightly defended his esthetic views and absolutely refused to alter them. I enjoy the cold, pale and gloomy vibe it provides, the result reminds me of the dim light of Eastern-European winter which I’m currently experiencing.TO EDVARD MUNCH, AS WELL as to numerous other artists of the 19th century, popular belief attributes the role of the melancholy, lonely titan battling for his art, opposed by the misunderstanding and unfeeling condemnations of the public. “At first I used this colour for lighting every scene I was modelling and somehow I gradually stopped using any other colour all. The colour palette for Santa’s pieces are influenced by a recent “kind of ‘blue period’, to be more precise, a #979AFF period,” she explains. “This year’s folder contains images portraying things such as colourful insect shells, antique dolls of dogs, futuristic bathroom, house-plants, office cubicles and Japanese fashion ads”. Each of these references he gathers into a moodboard. “Another big inspiration is doll houses and other doll accessories – things that look realistic, yet upon a closer inspection are very monolithic and non-functional,” she tells It’s Nice That. Inspired by 80s and 90s interior design magazine and technology adverts, Santa additionally gathers reference images of soviet visual culture. I wanted to practice the use of a fixed set by maintaining a constant camera angle and using the same base cube for each room I created.” ![]() “The Interior series portrays various isometric mock-ups of rooms incorporating a minimal amount of elements that merely point out the function of the particular structure. “Usually I get excited about modelling a certain object and then build a composition around it,” the illustrator explains. A Latvian multimedia artist, her recent series Interior explores innovative modern spaces in violet and blue hues.Įach of Santa’s illustrated interiors are built using Blender, an open source 3D graphics and animation software. Santa France’s work is a futuristic frenzy of illustration. ![]()
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