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AHO WORKS RESEARCH 2012
PhD Programme
Munch’s Room
deals with the Norwegian artist Edvard Munch
(1863–1944) and examines how the modern conception of
space, which emerged in the late nineteenth century, influenced
Munch’s artistic practice and conception. It involves a study
of Munch’s paintings, exhibitions and texts and in particular
his friezes and their relationship to space. Munch’s visions for
a purpose built space for his painting cycle
The Frieze of Life
– he himself described it as a ‘forest hall’ [skovhall] – serves
as a starting point for the dissertation’s discussion about the
relationship between art work, architectural space, and specta-
tor, as it was conceived around 1900. Munch’s friendship with
the Belgian artist, architect, designer and writer Henry van de
Velde (1863–1957) plays an important part of the investigation,
while German 19
th
century aesthetics and empathy theory forms
the dissertation’s theoretical framework.
▴
Edvard Munch,
Ruins in Maridalen,
4/8 -1878.
▸
Edvard Munch,
Night in Saint-Cloud,
1890.
▾
Edvard Munch
and Henry van de
Velde pictured in Villa
Esche, designed by
van de Velde in 1904.
▾
Leipzig 1903:
Edvard Munch’s
exhibition at P. H.
Beyer & Sohn in
Leipzig in 1903.
MUNCH’S ROOM
AFFILIATION
Institute of Form, Theory
and History
GRADUATE
Wenche Volle
MAIN SUPERVISOR
Mari Hvattum
DATE OF DEFENCE
November 9th 2012
OPPONENTS
Professor Carsten Thau,
Royal Danish Academy of
Fine Arts
|
Dr. art. Frank
Høifødt, FrankArt, Oslo
|
Professor Thordis Arrhenius,
AHO
