edvard munch 愛德華·蒙克
病魔、瘋狂和死亡是圍繞我搖籃的天使，且持續地伴随我一生。我們想要創作的不是那種給人們挂在客廳牆上的漂亮圖畫，而是捕捉人性的作品，可以扣動心弦最深處的藝術。
©愛德華·蒙克｜生病的孩子 the sick child
他們是不會去了解這些繪畫是在竭誠和痛苦中創作的，它們是不眠之夜的作品，它們耗費了我的血液和消磨了我的神經。they don't understand that these paintings are created with dedication and pain. they are works of sleepless nights. they consume my blood and nerves.
（視窗）
如果你想要畫的是情緒，那麼帶上它所有的力量。否則你就不能坐視和凝望對象，确切地描繪你所見到的每一個細節。你要去畫它所必須展示的，那剛好是在你對主題的情緒反射之中産生的那一個。if you want to paint emotions, take all the power with you. otherwise, you can't just sit back and stare at the object and describe exactly every detail you see. what you have to show to draw it is just the one that is produced in your emotional reflection of the subject.
現在對多年前看我們的繪畫的那些人進行說教已經變成一樁相當可笑的事了。當時他們的态度要麼是嘲笑，要麼是責備地搖着他們的頭。他們不相信，這些印象，這些瞬間的感覺，能包含最細微的精神健全。如果樹是紅色或藍色的，或面孔是藍色或綠色的，他們肯定會說，這家夥是瘋子。now it's quite ridiculous to preach to the people who saw our paintings many years ago. at that time, their attitude was either laughing or shaking their heads reproachfully. they don't believe that these impressions, these instant feelings, can contain the slightest mental health. if the tree was red or blue, or the face was blue or green, they would say, this guy is crazy.
©愛德華·蒙克｜哭泣的裸體 1913-1914
我的一生是在深不見底的懸崖邊緣行走，從一塊石頭跳到另一塊石頭。有時我想離開我狹窄的小徑加入暈眩的生活的主流，但我總是發現自己被冷酷無情地拖回懸崖邊緣，走到直到有一天我終於掉入那深淵。從我開始記事時，我就受到這種深刻的焦慮感的折磨，我一直設法用我的藝術來表現這種感覺。沒有焦慮和疾病我應該是像一艘沒有舵的船。my life has been walking on the edge of a deep cliff, jumping from one stone to another. sometimes i want to leave my narrow path to join the mainstream of dizzy life, but i always find myself dragged back to the edge of the cliff mercilessly until one day i finally fall into the abyss. i've been suffering from this deep anxiety ever since i began to remember, and i've been trying to express it in my art. without anxiety and disease, i should be like a ship without a rudder.
（冷眼相望）
我和兩個朋友一起漫步，夕陽西下。我感到一絲淡淡的憂郁。突然天空變得像血一樣紅。我止住腳步，斜倚欄杆，精疲力盡。我望着燃燒的雲，血染般的紅，像一把劍，垂懸在藍黑色的深谷峽灣和城市的上方。朋友繼續走着，我卻停在那裡因不安而顫抖，我忽然感到一聲強烈的、永無止境的尖叫穿過宇宙。i was walking with two friends and the sun was setting. i feel a touch of melancholy. suddenly the sky became as red as blood. i stopped, leaned against the railing, exhausted. i look at the burning clouds, bloody red, like a sword, hanging over the deep blue and black fjords and cities. my friend continued to walk, but i stopped there, trembling with uneasiness. suddenly i felt a strong, never-ending scream across the universe.
©愛德華·蒙克｜夜遊者 1923-1924
當我畫畫的時候，我從未想到出售。人們隻是不了解，我們繪畫是做實驗，是為了開拓自身以力求達到更高的精神境界。when i was painting, i never thought of selling. people just don't understand that our painting is to do experiments, to develop ourselves and strive to achieve a higher spiritual realm.
©愛德華·蒙克｜edvard munch, 1893: 'the scream
關于愛德華·蒙克
1863年12月12日，愛德華·蒙克出生于挪威雷登在奧斯陸長大。他的父親患有精神病，他向他的孩子們灌輸了對地獄的根深蒂固的恐懼，父親一再告訴他們, 如果他們在任何情況下、以任何方式犯有罪孽，他們就會注定被投入地獄，沒有任何寬恕的機會。edward munk was born in leiden, norway, and grew up in oslo on december 12, 1863. his father was mentally ill, and he instilled a deep-rooted fear of hell into his children. his father repeatedly told them that if they committed crimes under any circumstances and in any way, they would be doomed to hell without any chance of forgiveness.
之後，蒙克為成為一名工程師而進工學院念書受印象主義畫風的影響，然而，頻繁的患病中斷了他的學業。later, munch went to engineering school to become an engineer. influenced by impressionism, however, frequent illness interrupted his studies.
1885年，蒙克前往巴黎，他的作品開始顯示出法國畫家的影響；一開始是印象派，接着是後期印象派，然後是新藝術造型。愛德華·蒙克的繪畫盡管風格上是後期印象派的，但在主題上卻是象征派的，他的繪畫内容在于刻畫内心世界而不是外在現實。後來，他改用傳統的畫法創作《病孩》變體畫《春》，進而獲得獎學金去法國留學，從師l.博納。在法國，他在研究印象主義畫法的基礎上，轉而對後印象主義和納比派發生興趣。他發現線條和色彩有強烈的表現力，試圖用它們畫出活生生的人們，他們的呼吸、感覺、受苦受難并彼此的相愛。in 1885, munch went to paris, and his works began to show the influence of french painters; first impressionism, then post impressionism, then new art form. although edward munch's paintings are post impressionist in style, they are symbolic in theme. the content of his paintings is to depict the inner world rather than the external reality. later, he used the traditional painting method to create the variant painting spring of sick child, so he won a scholarship to study in france and became a teacher of l. boehner. in france, on the basis of studying impressionism, he turned to post impressionism and nabit. he found that lines and colors have strong expressive force, trying to use them to draw living people, their breathing, feeling, suffering and love each other.
©愛德華·蒙克｜edvard munch hed by head oil on canvas 1905
1908年秋，他的焦慮變得深刻并在丹尼爾·賈可布遜博士的診所住院接受治療。醫院裡施行的休克療法改變了他的個性。in the fall of 1908, his anxiety became profound and he was hospitalized at dr. daniel jacobson's clinic. shock therapy in the hospital changed his personality.
次年，蒙克回到挪威，更多地表現出對大自然的興趣，他的作品變得更富于色彩，減少了悲觀的成分。在納粹統治期間，蒙克的作品被貼上了“頹廢藝術”的标簽，從德國的各個美術館撤了下來。對于反納粹主義的蒙克來說是很傷心的，因為他把德國看作為他的第二祖國。the next year, munch returned to norway to show more interest in nature. his works became more colorful and less pessimistic. during the nazi rule, munch's works were labeled "decadent art" and removed from german art galleries. for the anti nazism monk, it is very sad, because he regards germany as his second motherland.
1944年1月23日，愛德華·蒙克于奧斯陸附近的艾可利與世長辭。他向奧斯陸捐贈了1000幅油畫，15400張版畫，4500件素描和水彩畫，還有6件雕刻作品。後來為紀念蒙克，建造了愛德華·蒙克美術館。on january 23, 1944, edward munch died in eckley, near oslo. he donated 1000 oil paintings, 15400 prints, 4500 sketches and watercolors, and six sculptures to oslo. later, in memory of munch, the edward munch gallery was built.
蒙克 《卡爾約翰街上的春日》 油畫 1890 年
蒙克有一句格言：“一件藝術品僅僅來自人的内心。”
蒙克 《病室裡的死亡》 油畫 1890 年
盡管蒙克的心理感受是獨特的，但是，能具有不衰竭的活力，離不開象征主義文學家、戲劇家馬拉美、斯特林堡（august strindberg，1849—1912）的思想滋養，尤其是後者無時間地點、無連貫情節、無完整人物形象的荒誕戲劇，給蒙克探視神秘的心理現實増加了勇氣。而他的朋友易蔔生（henrik johan ibsen，1828—1906），盡管是現實主義的問題劇大師，但他的敏銳的洞察力對蒙克突破可視的現實，通過精神生活揭示社會現實的本質無疑是一種不可忽視的推動力。
《呐喊》前身之《日落下的黯然：絕望》，1892年
分離 蒙克 1896 年
由于疾病的現實和死亡的悲劇，在畫家心中必然要喚起對死亡的恐懼，但更重要的是，“并非是以要使我的藝術非表現醜惡不可。相反，我感到我的藝術要發揮健康的反作用”。是以，“愛”這個主題，才是蒙克追求的最終目的。
夏夜 蒙克 1893 年
蒙克 《焦慮》 油畫 1894 年
他不是畫模樣，他在畫心靈，一個嫉妒、悔恨、絕望、頹廢的心靈。
蒙克 《吻》 油畫 71.3cm×61cm 1897 年
畫家曾說過：“我們應該停止畫有看書的男人和結毛線的女人的室内畫。我們必須畫呼吸、感覺、痛苦、戀愛的人們。我将要畫一系列這樣的畫。在這些畫中最為突出的是神聖的上帝。”
蒙克 《生命之舞》 油畫 125cm×191cm 1899—1900 年
紅與白 蒙克 1900 年
蒙克的繪畫語言既是象征的，更是表現的，是以，他被視為表現主義先驅。
蒙克 《蒸汽火車》 油畫 84cm×109cm 1900 年
蒙克 《墓地》 油畫 1900 年
蒙克 《臨終床邊》 油畫 1915 年
自畫像 蒙克 1903 年
星夜 蒙克 1922 年
自畫像 蒙克 1943 年