Article by Prof. Costanzo Costantini

 

KARI ELISABETH HAUG AT THE SCHOOL OF EDVARD MUNCH

 

                 "It has been eight months now that

he came into this clinic, Mr. Munch. I believe that an interview is not remanded any more. It is important that you tell me his thoughts because I would like to get you out as soon as possible, but for this I need you to talk to me".

 

                "What I have to talk, Doctor?

                "Oh, of what you want, it is a simple conversation"

                "I do not want anything now. My only interest is the time of painting. "

                "I would be delighted if you had the pleasure of talking of his paintings with a layman like me."

                "It's not really my paintings, I want to talk about, but the technique, the way I paint them."

                "If the conversation will be incomprehensible, I promise that I heckle it"

                "I paint pictures, doctor, because that's what it was asked me.

The artist, as Nietzsche wrote, is nothing that an instrument of God".

                "This metaphor not diminish his personal creativity."

                "The claws of a bird of prey have penetrated into my heart. In return of the paintings I paint I was asked to give up on life, love and joy. And this is the covenant that God made with me". 

               "I can follow you perfectly."

               "To live up to this will not be enough spread of the colors on the canvas, there is a series of paintings that are called to paint, but the request is how I will paint them. To be the bow of God I will have to look for sounds best for his creation is fulfilled. Years ago I had just finished painting The sick child, a framework in which I recalled all the grief for the death of my little sister Sophie, and I am sure that no other painter had an equal pain as it happened to me, it was then that I took a knife and began to injure the canvas to make it true to my heart. "

               "This very interesting, please continue."

               "Perhaps you think that mine is a kind of delirium selfish or narcissistic Nietzsche called cursed ipsissimosità But it is not so"

               "I believe you"

               "I want to say that with the knife I did not hurt the cloth, but myself."

               "But do you think, doctor Nietzsche says that the comedy regards to God to men befits tragedy."

              "Eternal return transmutation of all values: you're going above and beyond our already scandalous Ibsen and Strindberg."

 

The dialogue between Munch and Dr. Jacobson was rebuilt by Francesca Bonazzoli degree in art history and iconology, Deception in the monkey (Skira, 2OO6), based on writings and autobiographical memories of the Norwegian painter, and is therefore believed to be substantially reliable.

 

Born in I863 in Loten, Munch began painting under the influence of local painters of naturalistic tendency, but soon he went to France, Italy and Germany, where he remained longer than elsewhere. He found contact with the works of Manet, Van Gogh, Gauguin, Degas and especially 

knows expressionism, in its various expressions. In 1892 held in Berlin that draws our attention to him, especially in environments Die Bruche, with a trail of scandal.

                    The Munch's life is nothing but a long string of tragic events: five years old when his mother died, he was fourteen when he dies his sister Sophie, who has a year older than him; Subject to crises snowy and in 1908 was admitted to clinic for a collapse "Each of us has had a father, a mother or a sibling suffering from tuberculosis," he says with deep melancholy, if not deep anguish. The "deadly disease" of Kierkegaard memory, in the form of injury to the lungs. Despite the fact the heartbreaks, or perhaps because of it, can be defined as a visionary painter. How to teach Focillon, visionary painters, ranging from Tintoretto to Odilon, in Redon, have a more subtle aesthetic perception of the other painters, a special vision of the artistic phenomenon, Munch is not less than the others, including Rembrandt, Piranesi, Burri, Tapies.

                  It is known internationally for THE SCREAM, a mythical framework, slightly less than DAVID by Michelangelo, if not the GIOCONDA by Leonardo: Yet Francis Bacon, who had in mind to achieve the most beautiful picture of the human cry, He doesn’t even mention him. The most beautiful part of the human cry was made, according to him, Eisenstein, or the cry of the child in BATTLESHIP POTEMKIN and Poussin painting in the Massacre of the Innocents, the picture that was in Chantilly, and that every time he saw it, it gave him "a terrifying impression". Perhaps Bacon also he was a visionary painter, but of distorted visions, squinting, if not obscene. Although it was occasionally in Rome, he had never seen a painting by Caravaggio, had never even entered in St. Peter, because he was afraid to see the original of  INNOCENT X by Velasquez, who considered the most beautiful picture of the world, after the alterations or which had made on the basis of photographic reproductions. He had seen the Uffizi, before it was damaged by the flood, the CRUCIFIXION by Cimabue but seeing "a worm that crawls on the cross." Bacon was accused of loving the horror, a charge he rejected, but Balthus, who knew him well, he was convinced that he was a painter "cursed." Many argue that there is a link between horror and beauty. "What is beauty I do not know," said Durer. But if you do not even know Bacon? It would be left with the horror.

                 

             I forgot Kari Elisabeth Haug, the main subject of this article. A disciple who does not exceed the Master is not a true disciple, "said Nietzsche. I do not mean that Elisabeth has passed the Master, but she is a real

                disciple of Munch, absolutely to the point that the paiting she devoted to him very

well, it could be included in an exhibition alongside the works of the Master. The drawing very good, new, in a personal style. She i salso a visionary artist, with a fantasy power, so to speak. In addition Munch, remember Leonardo. "Everything is in the universe the painter it has first in the mind, then in his hands. "Leonardo also gave great importance to the moisture stains that form on the walls, because by them the artist can draw a variety of reasons and inspirations, like mountains, valleys, rivers, horizons, figures, characters, ghosts. About the colours Elisabeth recalls, as well as Van Gogh and Gauguin, the colorists loved by her Master, Cezanne. ("There is only one way to solve all the problems in painting: the color"): "Me and the color are one," said Paul Klee, who came from a musical family, his father played the piano as Elisabeth, Paul the violin. 

The white of Elisabeth brings to mind certain paintings by the American painter James Wistler or some of the female portraits signed by Guttuso. About Munch has raised the issue that was no place for Morandi, the painter of the bottles, as it was commonly called or the problem of repetition. For the Italian painter of the sharpest critics had observed that between a picture and the other there were some differences, albeit subtle; Approximately Munch has been called into question even Kierkegaard, that elevates an ode to repetition. He writes the danish philosopher in his essay "Repetition": "The only love happy is that of repetition." The two authors cited by Dr. Jacobson, Ibsen, R. Strindberg, Kierkegaard, the father of existentialism. KARI ELISABETH HAUG she is an existentialist painter, as he was so unique, Edvard Munch.

HAPPY INTUITION of Floriana Tondinelli to call the exhibition "Dreaming EDVAR MUNCH"...