:48:11
Working in hotel bedrooms,
on park and railway station benches,
:48:15
in bars and restaurants,
:48:18
using the small piece of copper
which he carries in his pocket,
:48:21
Edvard Munch begins
his first engraving,
:48:24
the theme which he captured
the prior year on his canvas
:48:28
Death And The Maiden.
:48:30
A naked woman,
stretched on tip-toe,
:48:34
presses her full body
into the embrace of Death.
:48:46
Towards the end of the 19th century,
:48:49
a new interest has developed
in the medium of the graphic.
:48:52
In Germany, Munch,
:48:54
here in the company of a professor
of graphic art at Berlin University,
:48:58
studies the latest trends
in copper engraving.
:49:01
In particular, the widely
published etchings
:49:05
of the German Max Klinger.
:49:08
Here, his cycle of
eight developing studies
:49:11
entitled Eine Liebe,
:49:13
A Love.
:49:17
The technical brilliance
of Klinger's work,
:49:19
its painstakingly studied detail,
:49:21
its use of black and white masses,
:49:24
its fashionable though
superficially treated themes
:49:27
of eroticism and despair,
intrigue Munch
:49:31
and reinforces his desire
to treat a similar cycle
:49:35
on a far deeper
and more expressive level.
:49:44
I met a young woman
:49:45
on the street one evening.
:49:49
Her eyes attracted me.
:49:52
They were large childish eyes.
:49:55
I looked at her. She turned
and we walked together.