Public Paintings by Edvard Munch and his Contemporaries

Contents

Preface by Ole Petter Ottersen

Preface by Stein Olav Henrichsen

Foreword

Acknowledgements

Introduction

Munch’s paintings: scientific research in retrospect

Unn Plahter and Leif Einar Plahter

Part 1 Munch’s early paintings in major Norwegian collections

Edvard Munch’s Evening on Karl Johan and its changes of appearance

Janine Wardius

Edvard Munch’s painting The Scream (1893): notes on technique, materials and condition

Trond Erik Aslaksby

Spectral Scream: hyperspectral image acquisition and analysis of a masterpiece

John Yngve Hardeberg, Sony George, Ferdinand Deger, Ivar Baarstad and Julio Ernesto Hernández Palacios

Non-invasive investigation of the materials and painting technique of Puberty (1894), Anxiety (1894) and Vampire (1895) by Edvard Munch

Francesca Rosi, Laura Cartechini, Aldo Romani, Brunetto Giovanni Brunetti, Antonio Sgamellotti, Costanza Miliani and Biljana Topalova-Casadiego

Analysis of Munch’s paintings by scanning multispectral infrared reflectography: Anxiety (1894), Puberty (1894) and Vampire (1895)

Biljana Topalova-Casadiego, Claudia Daffara, Mattia Patti, Roberto Bellucci, Cecilia Frosinni, Raffaella Fontana and Costanza Miliani

Edvard Munch’s Separation: past and present treatment strategies

Fredrik Jong

Part 2 Munch’s monumental Aula paintings in the University of Oslo and one of the artist’s many outdoor studios

Investigations of a tide-line and its influence on the painting materials in The Source

Katrine Strandskogen Scharffenberg

Monitoring of surface blackening and zinc reaction products on prepared samples located adjacent to Munch’s The Source in the Aula at the University of Oslo

Tine Frøysaker, Costanza Miliani, Terje Grøntoft and Ingjerd Kleiva

Unintended contamination? A selection of Munch’s paintings with non-original zinc white

Tine Frøysaker

Using modern archaeological methods: mapping and understanding life at Nedre Ramme

Bjarne Kjartan Fønstelien

An artist’s study of the archaeological site: Nedre Ramme owned by Edvard Munch (poster presentation)

Vilde Vegem

Part 3 Munch’s Aula drafts and paint tubes at the Munch Museum

Edvard Munch: composing monumental drafts and paintings

Petra Pettersen

Munch unstretched: 50 ways to hang your painting

Lise Chantrier Aasen, Linn Kristin Solheim and Eva Storevik Tveit

An analytical survey of painted areas in poor condition in Munch’s first monumental sketch for The Researchers

Erika Gohde Sandbakken and Jaap J. Boon

Chemical investigation of paint media in Edvard Munch’s monumental Aula sketches (1909–1916)

Maria Perla Colombini, Francesca Modugno, Erika Gohde Sandbakken, Eva Storevik Tveit and Marco Zanaboni

Munch’s colour tubes: a hidden treasure at the Munch Museum, Oslo

Hartmut Kutzke and Biljana Topalova-Casadiego

Munch’s colour tubes: analysis of binding media

Daniele Uldanck, Marco Zanaboni, Francesca Modugno, Maria Perla Colombini, Hartmut Kutzke and Biljana Topalova-Casadiego

Part 4 Conservation of Munch’s paintings in the United States, Germany, Denmark and Norway

Past and recent responses to the format of Edvard Munch’s The Mermaid

Suzanne Penn and Mark Tucker

Was Street in Åsgårdstrand and a Woman in Red Dress by Edvard Munch restored by the artist?

Renate Poggendorf

Edvard Munch’s painting technique and/or environmental influences: creation of a foundation for conservation interventions

Kamila Korbela

A contribution to the varnish history of the paintings by Edvard Munch at the National Museum and Munch Musum, Oslo

Mille Stein, Johannes Rød

Removing non-original adhesive from Munch’s paintings: a preliminary report

Terje Syversen

Part 5 Munch and his contemporaries

Edvard Munch’s binding media of Street in Åsgårdstrand and a Woman in Red Dress and a suggestion for a threefold definition of the terms ‘tempera’ and ‘oil’

Patrick Dietemann, Wibke Neugebauer, Ursula Baumer, Irene Fiedler and Renate Poggendorf

Cadmium yellow degradation mechanisms in Henri Matisse’s Le Bonheur de vivre (1905–06) and the Munch Museum’s The Scream (c.1910). Part 1: Chemical speciation as a function of depth

Jennifer Mass, Emeline Pouyet, Marine Cotte, Florian Meier, Apurva Mehta, Erich Uffelman, Unn Plahter, Barbara Buckley, Alyssa Hull, Jonathan Church and Robert Opila

Cadmium yellow degradation mechanisms in Henri Matisse’s Le Bonheur de vivre (1905–06) compared to the Munch Museum’s The Scream (c.1910): fluorescence imaging and chemical speciation as a function of depth. Part 2: Fluorescence imaging

Jennifer Mass, Erich Uffelman, Barbara Buckley, Unn Plahter, Inger Grimstad, John Delaney, Samuel A. Florescu, Alyssa M. Hull, Victoria M. Andrews, Linsay Burns

The conservation of Petar Lubarda’s painting Prisoner: challenges and results

Vanja Jovanovic

Conservation challenges and physical changes in Composition (1952) by Jean-Paul Riopelle: a case study

Ida Antonia Tank Bronken and Jaap J. Boon

Platform for further discussions

Munch 150: reflections and challenges

Bronwyn Ormsby, Tine Frøysaker and Biljana Topalova-Casadiego

Appendix I: List of Munch’s paintings and drafts

Appendix II: List of authors

Appendix III: Abbreviations