Edvard Munch Quotes

Edvard Munch Quotes

Here are some famous Edvard Munch quotes by the Norwegian Expressionist painter.

Who was Edvard Munch?

Edvard Munch was a Norwegian painter and printmaker who is best known for his iconic painting The Scream. Born on December 12, 1863, in Ådalsbruk, Norway, Munch’s childhood was marked by tragedy and illness, which had a profound impact on his artistic development.

Munch’s artistic journey began at an early age. He showed a talent for drawing and painting from a young age and received his first formal art education in Oslo, Norway. In 1889, he traveled to Paris, where he was exposed to the works of the Impressionists and Post-Impressionists, which greatly influenced his artistic style.

During his time in Paris, Munch developed a distinctive and highly personal style characterized by bold, expressive brushwork and intense, emotional content. His works often explored themes of love, death, anxiety, and existential angst. Munch’s exploration of these themes earned him a place among the pioneers of Expressionism, a movement that sought to convey the artist’s inner emotions and subjective experiences.

One of Munch’s most famous works, The Scream (1893), has become an enduring symbol of existential dread and has achieved a remarkable level of cultural significance. The painting depicts a figure with a contorted face, hands on the sides of its head, and a scream reverberating through the landscape. The Scream is not only an expression of personal anguish but also a reflection of the anxieties and uncertainties of the modern world.

Munch’s art often delved into deeply personal and autobiographical themes. His own experiences with loss, illness, and emotional turmoil influenced many of his works. The premature death of his mother, his own bouts of mental illness, and failed love affairs were recurrent subjects in his art.

In addition to painting, Munch also explored printmaking techniques such as lithography, woodcuts, and etching. These mediums allowed him to experiment further with the distortion of forms and the expression of raw emotions. His prints, like his paintings, conveyed a sense of intensity and psychological depth.

Despite initial resistance and controversy surrounding his art, Munch’s work began to gain recognition and acclaim. His paintings were exhibited in major European cities, and he became a leading figure in the Symbolist and Expressionist movements. Munch’s artistic contributions had a profound influence on subsequent generations of artists, particularly on German Expressionism and the development of abstract art.

In his later years, Munch retreated to his estate in Norway and continued to create art until his death on January 23, 1944, in Oslo. Today, his works are celebrated and admired for their emotional power, psychological insight, and innovative approach to representing the human condition.

Edvard Munch’s Contribution to Art History

Edvard Munch made significant contributions to the field of art history, particularly in the realm of modern and expressionist art. His work challenged conventional artistic norms and explored themes of emotion, psychology, and existential angst.


Munch is widely regarded as one of the pioneers of Expressionism, a movement that emerged in the early 20th century and sought to convey the artist’s inner emotions and subjective experiences. His bold and expressive brushwork, distorted forms, and intense colors were instrumental in shaping the visual language of Expressionism.

Exploration of Emotion and Subjectivity

Munch delved into the depths of human emotion and psychological states, bringing them to the forefront of his art. His works, such as The Scream, depicted raw feelings of anxiety, despair, and isolation, challenging the notion that art should merely represent external reality. Munch’s exploration of subjective experiences laid the groundwork for a more introspective and personal approach to artistic expression.

Symbolism and Allegory

Munch incorporated symbolism and allegory into his works, adding layers of meaning to his subjects. He often employed recurring motifs, such as the figure of Death, to symbolize universal human experiences and themes like mortality and the passage of time. Munch’s symbolic language enhanced the depth and complexity of his art, inviting viewers to contemplate broader existential questions.

Influence on German Expressionism

Munch’s work had a profound impact on German Expressionism, a movement that emerged in the early 20th century. His exhibitions in Germany and his expressive style inspired a new generation of artists, including Ernst Ludwig Kirchner, Emil Nolde, and Max Beckmann. Munch’s influence on German Expressionism helped shape the movement’s emphasis on conveying emotion, exploring psychological states, and critiquing the modern world.

Impressionism and Expressionism

Munch’s artistic development and exposure to the works of the Impressionists and Post-Impressionists in Paris played a crucial role in his trajectory as an artist. He blended elements of these movements with his own distinctive style, bridging the gap between the more traditional approach of Impressionism and the radical expressions of emotion in Expressionism. This synthesis allowed for a more nuanced representation of subjective experiences.

Legacy and Influence

Munch’s contributions to art history continue to resonate today. His innovative approach to portraying emotion, his exploration of the human psyche, and his use of symbolic elements have had a lasting impact on subsequent generations of artists. Munch’s work has inspired countless artists across various mediums and continues to be celebrated for its psychological depth, emotional power, and its ability to evoke a visceral response from viewers.

Famous Edvard Munch Quotes

  • “A work of art can only come from the interior of man. Art is the form of the image formed upon the nerves, heart, brain and eye of man”
  • “Any number of holier-than-thou honorable realists walk around in the belief that they have accomplished something, simply because they tell you for the hundredth time that a field is green and a red-painted house is painted red”
  • “From the moment of my birth, the angels of anxiety, worry, and death stood at my side, followed me out when I played, followed me in the sun of springtime and in the glories of summer. They stood at my side in the evening when I closed my eyes, and intimidated me with death, hell, and eternal damnation. And I would often wake up at night and stare widely into the room: Am I in Hell?”
  • “The way one sees is also dependent upon one’s emotional state of mind. This is why a motif can be looked at in so many ways, and this is what makes art so interesting”
  • “The rich man who gives, steals twice over. First he steals the money and then the hearts of men”
  • “Oil-painting is a developed technique. Why go backwards?”
  • “From my rotting body, flowers shall grow and I am in them, and that is eternity”
  • “A person himself believes that all the other portraits are good likenesses except the one of himself”
  • “When I paint, I never think of selling. People simply fail to understand that we paint in order to experiment and to develop ourselves as we strive for greater heights”
  • “In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color”
  • “Without anxiety and illness I should have been like a ship without a rudder”
  • “The camera will never compete with the brush and palette until such time as photography can be taken to Heaven or Hell”
  • “Nature is not only all that is visible to the eye… it also includes the inner pictures of the soul”
  • “The sea – it is as incomprehensible as existence – it is incomprehensible as death – as eternal as longing”
  • “Certainly a chair can be just as interesting as a human being. But first the chair must be perceived by a human being… You should not paint the chair, but only what someone has felt about it”
  • “If what you want to paint is the emotive mood in all its strength … then you must not sit and stare at everything and depict it exactly as one sees it”
  • “Anybody who perceives colors can become a painter. It’s simply a question of whether or not one has felt anything and whether one has the courage to recount the things one has felt”
  • “No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love”
  • “My fear of life is necessary to me, as is my illness. Without anxiety and illness, I am a ship without a rudder. My art is grounded in reflections over being different from others. My sufferings are part of my self and my art. They are indistinguishable from me, and their destruction would destroy my art. I want to keep those sufferings”
  • “I have no fear of photography as long as it cannot be used in heaven and in hell”

Leave a Comment

Your email address will not be published. Required fields are marked *