1:05:01
"I can't stand life anymore,"
1:05:05
and 3 weeks later is dead.
1:05:13
Many of Munch's contemporaries
now rally to his support,
1:05:17
realizing that his art is probing
1:05:19
into a new and revolutionary
understanding of the human psyche.
1:05:24
Munch seeks peculiarity,
mystery in everything he sees.
1:05:29
He sees the world in
wave-lines, trees,
1:05:34
shorelines, female hair,
1:05:37
trembling bodies.
1:05:39
Like no other Norwegian painter
1:05:41
Munch aims at making
our innermost tremble.
1:05:51
Working on the theme
of the staring, isolated faces
1:05:54
in his oil on canvas Anxiety,
1:05:57
Munch now turns to the final of the
graphic arts that he is to conquer:
1:06:01
woodcut.
1:06:03
Already he has seen the use
made by Paul Gauguin
1:06:06
of the grain and texture in wood,
1:06:09
the stark and simple
outlines of the blocks
1:06:12
cut in Tahiti.
1:06:17
The Japanese use
1:06:19
of differently coloured
contours of wood.
1:06:22
The instant impact in the use
1:06:24
of primary white and black
1:06:26
by the Frenchman Paul Valloton.
1:06:33
In this field Munch perhaps
surpasses all his other work.
1:06:37
He invents a method of
cutting out individual pieces of wood
1:06:41
shaped to various contours
in the picture,
1:06:43
inking the pieces
in their different colours
1:06:46
and then fitting them back
together again
1:06:48
like a jigsaw, ready for printing.
1:06:51
He uses the grain in the wood
1:06:53
and takes again the familiar themes
of the Frieze of Life,
1:06:57
reducing them to
an essential force and simplicity,