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,
1:07:01
for which he has been searching
for 10 years.
1:07:16
Seeking for more effective ways
of spreading
1:07:18
his philosophy of life and death,
1:07:22
constantly fighting against
1:07:23
what he sees as the suppression
of his own personality,
1:07:27
Edvard Munch turns more and more
to graphic art
1:07:30
with its multiple prints.
1:07:33
Within one year
his graphic output has tripled,
1:07:36
as he turns from dry-point to etching,
1:07:38
to wood-cut to lithography
in black and white and colour.