Word: munched
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Dates: during 1960-1969
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Ever since Conductor Charles Munch died last November, the French Ministry of Culture has been searching for a worthy successor to lead the prestigious Orchestre de Paris. Tradition demands a Frenchman. But quality has now decreed an Austrian: Herbert von Karajan, 60, who is already busy enough as conductor of Salzburg Festivals and the music director of the Berlin Philharmonic. In Paris, the indefatigable maestro will double as music director and conductor, lead the Orchestre in a series of concerts at home, plus several festival appearances and tours of Japan and the U.S. Says he: "I consider the Orchestre...
Humble Form. Given this predilection, it was only natural that Munch should ultimately turn to the simplest, most stylized artistic medium then in use -graphics. In the 1890s, lithographs were undergoing an artistic revival in Paris under the gifted impetus of Bonnard and Toulouse-Lautrec, while Gauguin was experimenting with the woodcut. Munch, in his turn, became almost as influential as they...
...exhibition of 74 Munch prints, currently at the Los Angeles County Museum, illustrates why Munch's finest pictures were executed in this humble medium. At the Auguste Clot print shop in Paris, where Munch perfected his technique, he had to draw on lithographic stones, which were generally smaller than the canvases he used. Moreover, the presses of the day were only equipped to reproduce three or four elementary (and usually plain garish) col ors. Thus Munch had to stay with simple, intimate compositions-in which his natural gifts for boldness and symbolism were dramatized...
Nowhere perhaps is this more vividly seen than in his 1896 version of The Sick Child (see color pages), a marvelously sensitive evocation of his elder sister Sophie, who died of tuberculosis when Munch was 14. In fact, the lithograph of The Sick Child is essentially a detail from a larger oil that Munch had painted some ten years before. The painting showed the child upright against a pillow, with her aunt, head bowed, next to her, but the lithograph zeroes in on "the trembling lips, the transparent skin, the tired eyes" that had inspired him in the first place...
Untouched by Guilt. In graphics, Munch was almost compelled to concentrate on one or at the most two aspects of his obsessive Eve. As a result, he often gained a depth totally lacking in larger group portraits of the three women. His sensuous 1895 Madonna captures a strangely melancholy bacchante, in the throes of some primeval ecstasy, clearly his "woman of lust." In Ashes (1889), she appears again, a wanton totally untouched by the guilt that overwhelms her partner-yet at the same time electrified by some outside, elemental force...