Edvard Munch

.mi desgracia es haber encontrado mujeres con hebras de cabello claro o rojo fuego en cabezas de largo cráneo - y ojos como arándanos azules sobre alfileres - Si hubiese encontrado la imagen especular de mi alma - en dos ojos negro carbón - entonces qué clase de pintor al óleo me hubiese vuelto. Carta a Sigurd Høst, 1911 Edvard Munch escribió continuamente: cartas, diarios, textos literarios y otras notas. En Como un fantasma te dejo se encuentran afirmaciones sobre el arte versus la naturaleza, enemigos, dineros, la muerte y mucho más.

"Mein Unglück ist es, Frauen mit hellem oder feuerrotem Haar auf ihren länglichen Schädeln getroffen zu haben - und Augen wie Blaubeeren auf Stecknadeln - Hätte ich meiner Seele Spiegelbild gefunden - in zwei kohlenschwarzen Augen - was für ein Künstler wäre ich geworden. Brief an Sigurd Høst, 1911 Edvard Munch schrieb sein ganzes Leben lang: von Briefen und Tagebuchnotizen bis hin zu literarischen Fragmenten und Texten aller Art. In Wie ein Gespenst verlasse ich dich sind einschlägige Zitate Munchs über das Verhältnis von Kunst und Natur, seine Feinde, Geld, Tod und vieles mehr versammelt.

A gem of a book that stays with you long after you have finished it. Edvard Munch wrote continuously; letters, diaries, literary texts and other notes. In Like a Ghost I Leave You you will find striking statements about art versus nature, enemies, money, death and much more. - "Had I been in Possession of the as yet undiscovered little Remote telephone which one carries around in one’s Pocket You would have long ago received Communications from me"- Undated draft of a letter to Jens Willumsen.

Vom Naturalismus und Impressionismus geprägt, entwickelte Edvard Munch gegen Ende des vergangenen Jahrhunderts eine eigenständige nordische Variante der modernen Malerei. Seine frühen Bilder zählen zu den Meisterwerken der europäischen Moderne.

Scandinavia's most famous painter, the Norwegian Edvard Munch (1863-1944), is probably best known for his painting The Scream, a universally recognized icon of terror and despair. (A version of The Scream was stolen from the Edvard Munch Museum in Oslo, Norway, in August 2004, and has not yet been recovered.) But Munch considered himself a writer as well as a painter. Munch began painting as a teenager and, in his young adulthood, studied and worked in Paris and Berlin, where he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. Known as an artist who captured both the ecstasies and the hellish depths of the human condition, Munch conveys these emotions in his diaries but also reveals other facets of his personality in remarks and stories that are alternately droll, compassionate, romantic, and cerebral. This English translation of Edward Munch's private diaries, the most extensive edition to appear in any language, captures the eloquent lyricism of the original Norwegian text. The journal entries in this volume span the period from the 1880s, when Munch was in his twenties, until the 1930s, reflecting the changes in his life and his work. The book is illustrated with fifteen of Munch's drawings, many of them rarely seen before. Though excerpts from these diaries have been previously published elsewhere, no translation has captured the real passion and poetry of Munch's voice. This translation lets Munch speak for himself and evokes the primal passion of his diaries. J. Gill Holland's exceptional work adds a whole new level to our understanding of the artist and the depth of his scream.