:06:01
a lyric poet in colour.
:06:03
He feels colours, feels in colours,
but he does not see them.
:06:10
He sees sorrow
:06:12
and crying and brooding
:06:15
and withering.
:06:17
To the young poets
and writers of Norway,
:06:20
now rejecting Naturalism,
:06:22
the work of Edvard Munch
proves a revelation.
:06:26
Vilhelm Krag:
:06:28
"The river flows so slowly
Flows and flows and flows.
:06:35
"And daylight goes, goes.
:06:39
"Night will soon be here.
:06:43
"The light shines out of my room.
:06:46
"Turns to regard me
In silence and in anxiety.
:06:52
"It knows he is coming."
:06:55
Was it that she was so much
more beautiful than others?
:06:59
No, I don't even know
if she was beautiful.
:07:04
Her mouth was big.
She could be ugly.
:07:10
In my article in the Mercure de France
:07:13
Albert Aurier, critic.
:07:15
I refer to this work by Gauguin.
:07:18
I explain that it is the duty
of the new artist to choose between
:07:24
the numerous elements
which make up objectivity.
:07:27
He is also entitled to distort, to emphasize,
to exaggerate line, form and colour
:07:36
in accordance with his personal vision
:07:39
and individual subjectivity.
:07:42
Nice, 1891.
:07:45
Two lovers, their faces
dissolved together, featureless,
:07:50
lurk in the corner of a room.
:07:53
Perspective has vanished.
:07:55
Broken, slashing strokes
of thin paint.
:07:59
The breakthrough has begun.