Edvard Munch quotes

Edvard Munch photo

29 12

Edvard Munch

Birthdate: 12. December 1863
Date of death: 23. January 1944

Edvard Munch was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his best known works is The Scream of 1893.

Photo: Anders Beer Wilse, Galleri Nor Tilvekstnummer: NF.WA 03293 Internnr: NBR9407:02356 / Public domain

Quotes Edvard Munch

„The only influences in [the painting 'The sick Child', Munch painted in his elderly home, remembering very accurate the last days of his dying little sister Sophie] 'The sick Child'.... were the ones that come from my home.... my childhood and my home. Only someone who knew the conditions at home could possibly understand why there can be no conceivable chance of any other place having played a part – my home is to my art as a midwife is to her children.... few painters have ever experienced the full grief of their subject as I did in 'The sick child.“

— Edvard Munch

It was not just I who was suffering; it was all my nearest and dearest as well.
Edvard Munch talks to Jens Tiis, c. 1933, Munch Museum; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 85-86
after 1930

Children, Art, Home, Understanding

„From my rotting body, flowers shall grow and I am in them and that is eternity.“

— Edvard Munch

Quote in Sustainable Landscape Construction: A Guide to Green Building Outdoors (2007) by William Thompson and Kim Sorvig, p. 30
after 1930

„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.“

— Edvard Munch

Quote from Munch's text (1889) 'Impressions from a ballroom, New Year's Eve in St. Cloud' - also known as 'The St. Cloud Manifesto'
1880 - 1895

Love, Women, Men, People

„Nothing ceases to exist – there is no example of this in nature... There is an entire mass of things that cannot rationally explained. There are newborn thoughts that have not yet found form. How foolish to deny the existence of the soul. After all, that a life has begun, that cannot be denied. It is necessary to believe in immortality, insofar as it can be demonstrated that the atoms of life or the spirit of life must continue to exist after the body’s death. But of what does it exist, this characteristic of holding a body together, causing matter to change and develop, this spirit of life? I felt it as a sensual delight that I should become one with – become this earth which is forever radiated by the sun in such a constant ferment and which lives – lives – and which will grow plants from my decaying body – trees and flowers – and the sun will warm them and I will exist in them – and nothing will perish – and that is eternity.“

— Edvard Munch

T 2760 (January 1892); as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 119
1880 - 1895

Life, Death, Soul, Flowers

„The point is that one sees things at different moments with different eyes. Differently in the morning then in the evening. The way in which one sees also depends on one's mood…. coming in from a dark bedroom in the morning into the sitting room one will, for example, see everything in a bluish light. Even the deepest shadows are topped with bright light. After a while one will accustom oneself to the light and the shadows will be deeper and everything will be seen more sharply. If an atmosphere of this kind is being painted it won't do merely to sit and gaze at everything 'just as one sees'. One must paint precisely the fleeting moment of significance – one must capture the exact experience separating that significant moment from the next – the exact moment when the motif struck one… In some circumstances a chair may seem to be just as interesting as a human being. In some way or another it must have caught the interest in which case the onlooker's interest must somehow be engaged in the same way. It's not the chair that should be painted, but what the person has felt at the sight of it [written in Saint Cloud, 1890 - probably related to the chair of Vincent van Gogh“

— Edvard Munch

Quote of Munch from: T 2770, (1890); as cited in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 83-84
1880 - 1895

Way, Mood, Light, Painting

„When I write these notes, it is not to describe my own life. I am writing a study of the soul as I observe myself closely and use myself as an anatomical testing-ground. It would therefore be wrong to look on these notes as confessions. I have chosen – in accordance with Søren Kierkegaard – to split the work into two parts; the painter and his distraught friend the poet. Just as Leonarda da Vinci studied the recesses of the body and dissected human cadavers, I try from self-scrutiny to dissect what is the universal in the soul“

— Edvard Munch

written after 1908
in The Mad Poet's Diary, T 2734
1896 - 1930

Life, Soul, Study, Universe

„My afflictions belong to me and my art - they have become one with me. Without illness and anxiety, I would have been a rudderless ship... My art is really a voluntary confession and an attempt to explain to myself my relationship with life - it is, therefore, actually a sort of egoism, but I am constantly hoping that through this I can help others achieve clarity.“

— Edvard Munch

As quoted in 'From my rotting body, flowers shall grow, and I am in them, and that is eternity', Potter P. Emerg Infect Dis, 2011
after 1930

Life, Hope, Art, Affliction

„I thought I should make something – I felt it would be so easy – it would take form under my hands like magic.
Then people would see!
A strong naked arm – a tanned powerful neck a young woman rests her head on the arching chest.
She closes her eyes and listens with open and quivering lips to the words he whispers into her long flowing hair.
I should paint that image just as I saw it – but in the blue haze.
Those two at that moment, no longer merely themselves, but simply a link in the chain binding generation to generation.
People should understand the significance, the power of it. They should remove their hats like they do in church.
There should be no more pictures of interiors, of people reading and women knitting.
There would be pictures of real people who breathed, suffered, felt, loved.
I felt impelled – it would be easy. The flesh would have volume – the colours would be alive.
There was an interval. The music stopped. I was a little sad. I remembered how many times I had had similar thoughts – and that once I had finished the painting – they had simply shaken their heads and smiled.
Once again I found myself out on the Boulevard des Italiens.“

— Edvard Munch

written in Saint Cloud, 1889
Quotes from his text: 'Saint Cloud Manifesto', Munch (1889): as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 120 -121
1880 - 1895

Love, Women, People, Sadness

„I am at work on a girl. It is quite simple a girl getting up on the edge of her bed and pulling on her stockings. The bed is whitish, and in addition there are white sheets, a white nightdress, a bedside table with a white cover, white curtains and a blue wall.“

— Edvard Munch

as model for his painting 'Morning', 1884
Quote in Munch's letter to Olav Paulsen, September 1884; as cited in Edvard Much – behind the scream, w:Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 53
1880 - 1895

„Grey dawn was seeping into the sick room [around Christmas 1867, Munch was almost dying then and spitting blood when he was 13; but he recovered]. I lay in the middle of the bed with my hands outside the bedclothes, looking straight ahead. Now I was in a pact with God. I had promised to serve him if I survived, if he allowed me to escape the tuberculosis. Now I could never be as before.“

— Edvard Munch

T 2771, as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 26
after 1930

„The camera will never compete with the brush and palette until such time as photography can be taken to Heaven or Hell.“

— Edvard Munch

„There must be no more pictures covered in brown sauce [c. 1880, when Munch started to paint series of landscapes in fresh colors]“

— Edvard Munch

a written note; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 41
after 1930

Color, Painting

„And I live with the dead – my mother, my sister [Sophie], my grandfather, my father [who died in 1889, when Munch was in France]... Every day is the same – my friends have stopped coming – their laughter disturbs me, tortures me.... my daily walk round the old castle becomes shorter and shorter, it tires me more and more to take walks. The fire in the fireplace is my only friend – the time I spend sitting in front of the fireplace gets longer and longer.... at its worst I lean my head against the fireplace overwhelmed by the sudden urge – Kill yourself and then it’s all over. Why live? I light the candle – my huge shadow springs across half the wall, clear up to the ceiling and in the mirror over the fireplace I see the face of my own ghost.“

— Edvard Munch

a note from Saint Cloud, 1898; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 115
1896 - 1930

Spring, Sister, Laughter, Light

„it was the period I think of as the age of the pillow... What I wanted to bring out - is that which cannot be measured - I wanted to bring out the tired movement in the eyelids - the lips must look as though they are whispering - she must look as though she is breathing - I want life - what is alive.“

— Edvard Munch

on his painting 'The sick Child'
As quoted in 'From my rotting body, flowers shall grow, and I am in them, and that is eternity', Potter P. Emerg Infect Dis, 2011
after 1930

Life, Age, Thinking, Painting

„I was walking along a path with two friends — the sun was setting — suddenly the sky turned blood red — I paused, feeling exhausted, and leaned on the fence — there was blood and tongues of fire above the blue-black fjord and the city — my friends walked on, and I stood there trembling with anxiety — and I sensed an infinite scream passing through nature.“

— Edvard Munch

Quote of an entry in his Diary (22 January 1892), on the experience which inspired his famous painting, '(The Scream)' ('Shrik'), originally titled: 'Der Schrei der Natur' ('The Cry of Nature')
1880 - 1895

Feeling, Nature, Sense, Sun

„Behind the top hats, a little lady wearing lila-coloured tights was balancing on a tightrope in the middle of all that blue-grey tobacco-laden air. I sauntered in among the standing clientele. I was on the lookout for an attractive girl. Yes – that one wasn’t bad. When she became aware of my gaze her facial expression changed to that of a frozen mask and she stared emptily into space. I found a stair – and collapsed into it – tired and listless. Everyone clapped. The Lila-clad tightrope-walker curtsied, smiled and disappeared. A group of Romanian singers took her place. There was love and hate – and longing and reunion – and lovely dreams – and that soft music melting together with the colours. The melted notes became green palm trees and steely blue water floating in the blue haze of the room. An artwork is a crystal. A crystal has a soul and a mind, and the artwork must also have these.“

— Edvard Munch

a note of Munch, written in Ekely, 1929; Munch Museum
1896 - 1930

Love, Hate, Smile, Dreams

„What is art really? The outcome of dissatisfaction with life, the point of impact for the creative force, the continual movement of life.... in my art I attempt to explain life and its meaning to myself.“

— Edvard Munch

N 45, as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 35
after 1930

„When seen as a whole, art derives from a person's desire to communicate himself to another. I do not believe in an art which is not forced into existence by a human being’s desire to open his heart. All art, literature, and music must be born in your heart’s blood. Art is your heart’s blood.“

— Edvard Munch

Manuscript (1891); as quoted in Edvard Munch and the Physiology of Symbolism (2002) by Shelley Wood Cordulack
1880 - 1895

Art, Music, Communication, Literature

„No one in art has yet penetrated as far [as Dostoyevsky into the mystical realms of the soul, towards the metaphysical, the subconsciousness, viewing the external reality of the world as merely a sign, a symbol of the spiritual and metaphysical.“

— Edvard Munch

Quote in Edvard Munch, Hans Dedekam, Kristiana 1909, p. 4
1896 - 1930

World, Art, Soul, Reality

„By painting colours and lines and forms seen in a quickened mood I was seeking to make this mood vibrate as a phonograph does.“

— Edvard Munch

1896 - 1930
Source: Diary Saint Cloud, 1898; Munch, as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 105

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