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爱德华·蒙克的作品被分为“疾病、爱情、死亡”三大主题,它们是蒙克在画布上屡屡重现的梦魇。其中,“死亡”始终是他竭力逃避却又不得不面对的核心主题。蒙克画笔下的“死亡”并非赤裸裸的惊恐,亦非源于人性中对“黑暗”的避讳和畏惧,而是画家对于“失去”的哀悼、不安和焦虑。作为表现主义先驱,蒙克摒弃世俗规束。以其迷狂的艺术表现力,构建了一个游离于生死边界、神魂共舞的意境。他与俄国心理小说家陀思妥耶夫斯基一样,擅长发掘和阐述人性中隐匿和徘徊的脆弱、迷惘,缔造了一个个自由而多重的心灵空间,无论是作品中的人物抑或现实世界的饮食男女。可以毫无顾忌、如同呼吸一般自然地在这里发出属于自己的呐喊,尽情地生活着。
The works of Edward Munch are divided into three major themes: “sickness, love, death”, which are the nightmares that Munch repeatedly replaces on the canvas. Among them, “Death ” has always been the core theme that he tried to escape but had to face. “Death” under the brush of Munch is not a naked panic, nor is it derived from the taboo and fear of “darkness” in human nature. It is the artist’s condolences, anxieties and anxieties about “Lost ”. As a forerunner of expressionism, Munch discarded secular regulation. With its ecstatic artistic expression, it builds a mood that is free from the boundary between life and death and is soul-stirring. Like Dostoevsky, a Russian psychological novelist, he is good at discovering and explicating the fragility and confusion of hiding and wandering in human nature, creating a free and multiple spiritual space, whether it be the characters in the works or the real world Diet men and women. Can be without scruples, as breathing naturally naturally issued here their own cry, enjoy living.