Edvard Munch

Munch Museum is an art museum in Oslo, Norway dedicated to the work and life of the painter Edvard Munch. The museum was financed from the profits generated by the Oslo municipal cinemas and opened its doors in 1963 to commemorate what would have been the painter's 100th birthday. Its collection... consists of works and articles willed by Munch to the municipality of Oslo, additional works donated by his sister Inger Munch, and various other works obtained through trades of duplicate prints, etc. The museum now has in its permanent collection well over half of the artist's entire production of paintings and at least one copy of all his prints. This amounts to over 1,100 paintings, 15,500 prints covering 700 motives, six sculptures, as well as 500 plates, 2,240 books, and various other items. The museum also contains educational and conservation sections and also has facilities for performing arts. The museum structure was designed by the architects Einar Myklebust and Gunnar Fougner . Myklebust also played an important role in the expansion and renovation of the museum in 1994 for the 50th anniversary of Munch's death.
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The National Museum of Art, Architecture and Design in Oslo is the national museum of art of Norway. It was established on 1 July 2003 through a merger of the Norwegian Museum of Architecture, the Museum of Decorative Arts and Design, the Museum of Contemporary Art, the National Gallery, and the... National Touring Exhibitions. Its directors have been Sune Nordgren and Allis Helleland ; the chairman of the board is Christian Bjelland. Among its collection is one of the versions of The Scream by Edvard Munch.
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Symbolism was a late nineteenth-century art movement of French and Belgian origin in poetry and other arts. In literature, the movement had its roots in Les Fleurs du mal by Charles Baudelaire. The works of Edgar Allan Poe, which Baudelaire greatly admired and translated into French, were a... significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and '70s. In the 1880s, the aesthetic was articulated through a series of manifestoes and attracted a generation of writers. The label "symbolist" itself comes from the critic Jean Moréas, who coined it in order to distinguish the symbolists from the related decadent movement in literature and art. Distinct from, but related to, the movement in literature, symbolism in art represents an outgrowth of the darker, gothic side of Romanticism; but where Romanticism was impetuous and rebellious, symbolist art was static and hieratic.
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