In his review of the exhibit “Munch and Expressionism” at the Neue Galerie in New York City ( “We All Scream”, The New Yorker, February 29, 2016), Peter Schjeldahl notes that Edvard Munch “took to leaving his paintings outdoors through the brutal Norwegian winters—to ‘kill or cure’ them”. One imagines that more paintings were killed than cured by this treatment and that the ones which survived have been suffering the effects of it ever since .
One thought on “More paintings were killed than cured”
Comments are closed.
How can a painting “suffer the effects” of a procedure that was, to Munch, essential to its creation? Aren’t all paintings survivors of certain treatments enacted by their artists?