104 Gravuras de Edvard Munch
1978
104 Gravuras de Edvard Munch
Exposição da obra gráfica do pintor norueguês Edvard Munch (1863-1944), organizada em parceria com a Embaixada da Noruega em Portugal e com o Munchmuseet, em Oslo. Contando com 104 obras de gravura, xilogravura e litografia, a mostra em Lisboa teve uma excelente receção por parte do público, chegando aos 11 600 visitantes.
Exhibition of Norwegian painter Edvard Munch’s (1863-1944) graphic work organised in partnership with the Norwegian Embassy in Portugal and the Munchmuseet in Oslo. With 104 works of engraving, woodcut and lithography, the exhibition in Lisbon had an excellent reception by the public, reaching 11,600 visitors.
Exposição da obra gráfica do pintor norueguês, precursor do expressionismo alemão, Edvard Munch (1863-1944), organizada pela Fundação Calouste Gulbenkian (FCG), em parceria com a Embaixada da Noruega em Portugal e com o Munchmuseet, em Oslo.
Considerado um dos artistas mais importantes e celebrados da vanguarda intelectual e artística de Berlim do século XX, a oportunidade de patentear um importante e representativo acervo da obra gravada de Munch não passou despercebida à Fundação Calouste Gulbenkian, que, desse modo, contribuía para um melhor conhecimento e divulgação do artista em Portugal.
Segundo Fernando de Azevedo, o «amor» e a «morte» representavam em Edvard Munch «os dois pontos altos por onde passava a curva dramática da vida humana. Sempre presentes um e outro como fins últimos, como destino. […] Toda a obra de Munch, tão profundamente influenciadora de um outro lado da arte moderna, vai de um destes pontos ao outro, formulando sempre a mesma meditação metafísica e inquietante em qualquer ponto de passagem da curva: a interrogação sobre o sentido da vida» (Azevedo, Colóquio/Artes, mar. 1978).
A exposição foi pensada para coincidir com a visita a Portugal do rei Olavo V, que esteve presente na inauguração. Contou com 104 obras de gravura, xilogravura e litografia, sendo o mesmo conjunto de peças, mais tarde, exibido em Graz (Áustria) e em Augsburgo (Alemanha).
Acerca das gravuras selecionadas para a mostra, Alf Bøe, diretor do Munchmuseet e colaborador na organização da exposição, afirmou representarem a excelência do trabalho gráfico de Munch: «I may assure you that it is in itself of high quality, and covers the entire range of Munch’s work as a graphic artist.» (Carta de Alf Bøe para José Sommer Ribeiro, dez. 1977, Arquivos Gulbenkian, SEM 00120)
O catálogo da exposição integrou um extenso texto biográfico e de análise crítica, assinado por Gerd Woll, historiadora e especialista na obra de Edvard Munch, à data curadora-sénior no Munchmuseet.
A exposição em Lisboa teve uma excelente receção por parte do público, tanto o especializado como o público em geral, como o comprovam as críticas associadas à exposição e ainda o número de visitantes (cerca de 11 600) que acorreram à Galeria de Exposições Temporárias da FCG para contemplar as gravuras de Munch.
Pela sua importância histórica e artística e pela forte adesão do público, o Museu Nacional de Soares dos Reis, no Porto, proporia à FCG que as obras de Munch fossem seguidamente apresentadas naquele museu. O pedido não obteria uma resposta favorável, pois, em virtude de compromissos já assumidos pela FCG, a exposição seguiria para Graz, onde seria inaugurada a 21 de março.
Após a montagem da exposição na FCG, Alf Bøe, satisfeito com a parceria entre as duas instituições, escreveu um ofício dirigido à Presidência da Fundação Calouste Gulbenkian no qual felicitava a concretização da iniciativa: «A few words to thank you for the hospitality which was extended to the Munch exhibition by the Gulbenkian Foundation. As you probably well know, it is a pleasure to hang in your very good exhibition rooms, where things invariably look good and where an exhibition is easily into its proper sequences.» (Carta de Alf Bøe para José de Azeredo Perdigão, mar. 1978, Arquivos Gulbenkian, SEM00120)
Joana Brito, 2016
Organised by the Calouste Gulbenkian Foundation (FCG) and the Norwegian Embassy in Portugal, in cooperation with the Munchmuseet in Oslo, this exhibition was dedicated to Norwegian painter and forerunner of German Expressionism Edvard Munch (1863-1944).
For Edvard Munch, to cite the critic Fernando de Azevedo (1923-2002) in an article in Colóquio. Artes, love and death represented the two high points through which the dramatic curve of human life passed. Both are always present as ultimate ends, as destiny.
Fernando de Azevedo also said of Munch's work: All of Munch's work, with such a profound influence on modern art, ranges between one of these points and the other [love and death], always formulating the same metaphysical, disquieting meditation at any point on the curve's journey: interrogation into the meaning of life (Azevedo, Colóquio. Artes, Mar. 1978).
Considered to be one of the most important and celebrated artists of the intellectual and artistic avant-garde in 20th-century Berlin, the chance to display an important and representative collection of Munch's engraved work did not go by unnoticed by the Calouste Gulbenkian Foundation, which helped provide better knowledge and dissemination of the artist in Portugal.
As well as this, the exhibition was designed to coincide with a visit to Portugal by King Olav V (1903-1991), who attended the opening. The exhibition contained 104 engraving, woodcut and lithography prints, the same group that after Lisbon was also shown at exhibitions in Graz (Austria) and Augsburg (Germany).
Alf Boe (1927-2010), director of the Munchmuseet, who helped organised the exhibition, said that these pieces represented the excellence of Munch's graphic work:
I may assure you that it is in itself of high quality, and covers the entire range of Munch's work as a graphic artist (Letter from Alf Boe to José Sommer Ribeiro, Dec. 1977, Gulbenkian Archives, SEM 00120).
The exhibition catalogue included a long biographical text and critical analysis by Gerd Woll (1939), renowned historian and specialist in Edvard Munch's work and, at the time, senior curator at the Munchmuseet.
The exhibition in Lisbon was extremely successful with the public, both specialist and general, as proven by reviews of the exhibition and the number of visitors, roughly 11,600, who went to the FCG Temporary Exhibition Gallery to see Munch's prints.
The exhibition's historical and artistic importance and the public's extensive enthusiasm led the Museu Nacional de Soares dos Reis in Porto to suggest to the FCG that Munch's works be exhibited at the museum afterwards. This request could not be met, however, because of the FCG's commitment to take the event to Graz, where it would open on 21 March, not leaving enough time for it to be set up and exhibited in Porto.
After the FCG set up the exhibition, Alf Boe, who was satisfied with the partnership between the two institutions, wrote a letter to the Chairman of the Calouste Gulbenkian Foundation congratulating the FCG on the initiative:
A few words to thank you for the hospitality which was extended to the Munch exhibition by the Gulbenkian Foundation. As you probably well know, it is a pleasure to hang in your very good exhibition rooms, where things invariably look good and where an exhibition is easily divided into its proper sequences (Letter from Alf Boe to José de Azeredo Perdigão, Mar. 1978, Gulbenkian Archives, SEM 000120).
For Edvard Munch, to cite the critic Fernando de Azevedo (1923-2002) in an article in Colóquio. Artes, love and death represented the two high points through which the dramatic curve of human life passed. Both are always present as ultimate ends, as destiny.
Fernando de Azevedo also said of Munch's work: All of Munch's work, with such a profound influence on modern art, ranges between one of these points and the other [love and death], always formulating the same metaphysical, disquieting meditation at any point on the curve's journey: interrogation into the meaning of life (Azevedo, Colóquio. Artes, Mar. 1978).
Considered to be one of the most important and celebrated artists of the intellectual and artistic avant-garde in 20th-century Berlin, the chance to display an important and representative collection of Munch's engraved work did not go by unnoticed by the Calouste Gulbenkian Foundation, which helped provide better knowledge and dissemination of the artist in Portugal.
As well as this, the exhibition was designed to coincide with a visit to Portugal by King Olav V (1903-1991), who attended the opening. The exhibition contained 104 engraving, woodcut and lithography prints, the same group that after Lisbon was also shown at exhibitions in Graz (Austria) and Augsburg (Germany).
Alf Boe (1927-2010), director of the Munchmuseet, who helped organised the exhibition, said that these pieces represented the excellence of Munch's graphic work:
I may assure you that it is in itself of high quality, and covers the entire range of Munch's work as a graphic artist (Letter from Alf Boe to José Sommer Ribeiro, Dec. 1977, Gulbenkian Archives, SEM 00120).
The exhibition catalogue included a long biographical text and critical analysis by Gerd Woll (1939), renowned historian and specialist in Edvard Munch's work and, at the time, senior curator at the Munchmuseet.
The exhibition in Lisbon was extremely successful with the public, both specialist and general, as proven by reviews of the exhibition and the number of visitors, roughly 11,600, who went to the FCG Temporary Exhibition Gallery to see Munch's prints.
The exhibition's historical and artistic importance and the public's extensive enthusiasm led the Museu Nacional de Soares dos Reis in Porto to suggest to the FCG that Munch's works be exhibited at the museum afterwards. This request could not be met, however, because of the FCG's commitment to take the event to Graz, where it would open on 21 March, not leaving enough time for it to be set up and exhibited in Porto.
After the FCG set up the exhibition, Alf Boe, who was satisfied with the partnership between the two institutions, wrote a letter to the Chairman of the Calouste Gulbenkian Foundation congratulating the FCG on the initiative:
A few words to thank you for the hospitality which was extended to the Munch exhibition by the Gulbenkian Foundation. As you probably well know, it is a pleasure to hang in your very good exhibition rooms, where things invariably look good and where an exhibition is easily divided into its proper sequences (Letter from Alf Boe to José de Azeredo Perdigão, Mar. 1978, Gulbenkian Archives, SEM 000120).
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