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in 1882 (based on an earlier 1879 pencil drawing).) However, art critics and historians have consistently noted the similarities; beginning with
Przybyszewski (1894) the first publication ever devoted to Munch. Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in
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depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over
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the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.
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reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and
219:. During this period of his life Munch often found residence in Berlin, where his newfound fame and circle of friends were. His new group of friends are attributed for helping push Munch further into his sexually depressed state of mind. Munch allowed this
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Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create
162:, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as
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1885 or 1886 and "that this earlier version had been lost in a studio fire". In the late 1880s and into the mid-1890s, Munch, in his mid-twenties, had begun to create his series of
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Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the
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was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.
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that the images were so similar, Munch found it necessary to claim he did not wish to replicate
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417:: The Library of Great Painters. Harry N. Abrams, Inc., Publishers, New York. 166 pp.
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pieces. At this time Munch had already established himself as a notable artist in
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Munch gave a number of titles to various versions of the motif, originally
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322:) feared sex due to the loss of his virginity to his cousin's wife.
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and like other works he created later this piece was created with
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Prelinger, Elizabeth and
Michael Parke-Taylor (1996).
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318:Munch himself (like the female he has portrayed in
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652:Edvard Munch: paintings, sketches, and studies
935:Self-Portrait. Between the Clock and the Bed.
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630:Edvard Munch and the physiology of symbolism
628:Shelley Wood Cordulack, Edvard Munch (2002)
372:. Yale University Press, New Haven. 236 pp.
1021:Paintings in the National Gallery (Norway)
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546:: CS1 maint: location missing publisher (
75:151.5 cm Ă— 110 cm (
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625:. Chanticleer Press ASIN: B0007DVV12. 171
515:Jules Amédée Barbey D'Aurevilly (1882).
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500:harvnb error: no target: CITEREFEggum (
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292:has stated in commentary published by
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711:Quotes from Edvard Munch (1863–1944)
370:The Symbolist Prints of Edvard Munch
911:Caricature Portrait of Tulla Larsen
650:Eggum, A., & Munch, E. (1979).
632:. Fairleigh Dickinson Univ Press.
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874:(versions from 1895 to the 1930s)
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344:List of paintings by Edvard Munch
204:Jules Amédée Barbey d’Aurevilly's
294:The Masterworks of Edvard Munch
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306:Le Plus Bel Amour De Don Juan
200:Le Plus Bel Amour De Don Juan
188:Le Plus Bel Amour De Don Juan
863:Self-Portrait with Cigarette
834:(versions from 1893 to 1910)
778:(versions from 1886 to 1927)
770:(versions from 1885 to 1926)
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154:has associations with both
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428:"The life of Edvard Munch"
413:Messer, Thomas M. (1970).
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927:Model by the Wicker Chair
705:Edvard Munch as a painter
654:. New York: C.N. Potter.
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903:Christmas in the Brothel
587:"Edvard Munch Biography"
16:Painting by Edvard Munch
775:Young Girls on a Bridge
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460:Cordulack, 2002 p. 116
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619:Frederick B. Deknatel
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761:List of paintings
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981:(2018 film)
973:(1974 film)
938:(1940–1943)
930:(1919–1921)
906:(1903–1904)
898:(1899–1900)
890:(1897–1899)
887:Inheritance
858:(1894–1895)
850:(1894–1895)
826:(1893–1895)
810:(1892–1895)
794:(1891–1893)
532:January 23,
142:created by
27:Norwegian:
1000:Categories
831:The Scream
791:Melancholy
613:References
572:2009-04-21
438:2009-04-21
290:Arne Eggum
174:by Munch.
168:lithograph
72:Dimensions
754:Paintings
592:April 21,
562:"Puberty"
542:cite book
527:313417503
229:symbolism
156:symbolism
144:Norwegian
130:Norwegian
103: in)
1016:Nude art
879:The Kiss
871:Jealousy
683:Archived
621:(1950).
481:April 2,
338:See also
278:At Night
262:At Night
256:, later
140:painting
135:Pubertet
108:Location
29:Pubertet
962:Related
946:Museums
855:Puberty
839:Anxiety
807:Madonna
695:Puberty
679:Puberty
332:Puberty
320:Puberty
313:Puberty
304:' 1886
298:Puberty
284:), 1902
282:Puberty
258:Puberty
246:Puberty
234:puberty
225:Puberty
213:Puberty
178:Genesis
172:etching
170:and an
152:Puberty
146:artist
125:Puberty
98:⁄
84:⁄
57:1894–95
22:Puberty
922:(1913)
914:(1905)
882:(1897)
866:(1895)
842:(1894)
818:(1893)
802:(1892)
786:(1889)
658:
644:
636:
525:
396:
376:
217:Berlin
62:Medium
44:Artist
847:Ashes
496:Eggum
415:Munch
350:Notes
206:book
656:ISBN
642:ISBN
634:ISBN
594:2009
548:link
534:2021
523:OCLC
502:help
483:2014
394:ISBN
374:ISBN
158:and
116:Oslo
54:Year
698:at
308:. .
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