Today, The Grandma has been readingsome works of Thomas Hardy, theEnglish novelist and poet, who was bornon a day like today in 1840.
Thomas Hardy (2 June 1840-11 January 1928) wasan English novelist and poet.
A Victorian realist in the tradition of George Eliot, he was influenced both in his novels and in his poetry by Romanticism,including the poetry of William Wordsworth. He was highlycritical of much in Victorian society, especially on the declining status of rural people in Britain such as those from his native South West England.
While Hardy wrote poetry throughout his life and regarded himself primarily as a poet, his first collection was not published until 1898. Initially, he gained fame as the author of novels such as Far from the Madding Crowd (1874), The Mayor of Casterbridge (1886), Tess of the d'Urbervilles (1891) and Jude the Obscure (1895). During his lifetime, Hardy's poetry was acclaimed by younger poets (particularly the Georgians) who viewed him as a mentor. After his death his poems were lauded by Ezra Pound, W. H. Auden and Philip Larkin.
Many of his novels concern tragic characters struggling against their passions and social circumstances, and they are often set in the semi-fictional region of Wessex; initially based on the medieval Anglo-Saxon kingdom, Hardy's Wessex eventually came to include the counties of Dorset, Wiltshire, Somerset, Devon, Hampshire and much of Berkshire, in south-west and south central England. Two of his novels, Tess of the d'Urbervilles and Far from the Madding Crowd, were listed in the top 50 on the BBC's survey of best-loved novels, The Big Read.
Thomas Hardy was born on 2 June 1840 in Higher Bockhampton (then Upper Bockhampton), a hamlet in the parish of Stinsford to the east of Dorchester in Dorset, England, where his father Thomas (1811-1892) worked as a stonemason and local builder. His parents had married at Melbury Osmond on 22 December 1839.
Hardy's interest in the theatre dated from the 1860s. He corresponded with various would-be adapters over the years, including Robert Louis Stevenson in 1886 and Jack Grein and Charles Jarvis in the same decade. Neither adaptation came to fruition, but Hardy showed he was potentially enthusiastic about such a project. One play that was performed, however, caused him a certain amount of pain. His experience of the controversy and lukewarm critical reception that had surrounded his and Comyns Carr's adaptation of Far from the Madding Crowd in 1882 left him wary of the damage that adaptations could do to his literary reputation.
So, in 1908, he so readily and enthusiastically became involved with a local amateur group, at the time known as the Dorchester Dramatic and Debating Society, but that would become the Hardy Players. His reservations about adaptations of his novels meant he was initially at some pains to disguise his involvement in the play. However, the international success of the play, The Trumpet Major, led to a long and successful collaboration between Hardy andthe Players over the remaining years of his life. Indeed, his play The Famous Tragedy of the Queen of Cornwall at Tintagel in Lyonnesse (1923) was written to be performed by the Hardy Players.
In 1914, Hardy was one of 53 leading British authors -including H. G. Wells, Rudyard Kipling and Sir Arthur Conan Doyle- who signed their names to the Authors' Declaration, justifying Britain's involvement in the First World War. This manifesto declared that the German invasion of Belgium had been a brutal crime, and that Britain could not without dishonour have refused to take part in the present war.
Hardy was horrified by the destruction caused by the war, pondering that I do not think a world in which such fiendishness is possible to be worth the saving and better to let western 'civilization' perish, and let the black and yellow races have a chance. He wrote to John Galsworthy that the exchange of international thought is the only possible salvation for the world.
Shortly after helping to excavate the Fordington mosaic, Hardy became ill with pleurisy in December 1927 and died at Max Gate just after 9 pm on 11 January 1928, having dictated his final poem to his wife on his deathbed.
His funeral was on 16 January at Westminster Abbey, and it proved a controversial occasion because Hardy had wished for his body to be interred at Stinsford in the same grave as his first wife, Emma.
Considered a Victorian realist, Hardy examines the social constraints on the lives of those living in Victorian England, and criticises those beliefs, especially those relating to marriage, education and religion, that limitedpeople's lives and caused unhappiness.
Today, The Grandma has received the wonderful visit of her closer friend TinaPicotes.
Tina is a great painter and expert in Art and they have been talking about the incredible Edvard Munch, the Norwegian painter, and his amazing and interesting works. EdvardMunch was born on a day like today in 1863 and Tina Picotes and The Grandma have wanted to homage him talking about his life and his universal paintings.
Before Tina's arrival, The Grandma has started to read a new novel titled Treadingon Dreams-Stories from Ireland written by Clare West.
Edvard Munch (12 December 1863-23 January 1944) was a Norwegianpainter, whose best known work, The Scream, has become one of the most iconic images of world art.
His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the Royal School of Art and Design in Kristiania, today's Oslo, Munch began to live a bohemian life under the influence of nihilist Hans Jæger, who urged him to paint his own emotional and psychological state, soul painting. From this would presently emerge his distinctive style.
Travel brought new influences and new outlets. In Paris, he learned much from Paul Gauguin, Vincent van Gogh and Henri de Toulouse-Lautrec, especially their use of colour. In Berlin, he met Swedish dramatist August Strindberg, whom he painted, as he embarked on his major canon The Frieze of Life, depicting a series of deeply-felt themes such as love, anxiety, jealousy and betrayal, steeped in atmosphere.
The Storm by Edvard Munch, 1893
But it was back in Kristiania that his legendary work The Scream was conceived. According to Munch, he was out walking at sunset, when he heard the enormous, infinite scream of nature. That agonised face is widely identified with the angst of modern man.
Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would eventually command the fourth highest nominal price paid for a painting at auction.
As his fame and wealth grew, his emotional state remained as insecure as ever. He briefly considered marriage, but could not commit himself. A breakdown in 1908 forced him to give up heavy drinking, and he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city's museums. His later years were spent working in peace and privacy. Although his works were banned in Nazi Germany, most of them survived World War II, ensuring him a secure legacy.
Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie, and three younger siblings: Peter Andreas, Laura Catherine, and Inger Marie. Laura was artistically talented and may have encouraged Edvard and Sophie. Edvard was related to painter Jacob Munch and to historian Peter Andreas Munch.
The family moved to Christiania, renamed Kristiania in 1877, and now Oslo, in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877.
In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and math. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies. The following year, much to his father's disappointment, Munch left the college determined to become a painter. His father viewed art as an unholy trade, and his neighbors reacted bitterly and sent him anonymous letters. In contrast to his father's rabid pietism, Munch adopted an undogmatic stance toward art. He wrote his goal in his diary: in my art I attempt to explain life and its meaning to myself.
Anxiety by Edvard Munch, 1894
In 1881, Munch enrolled at the Royal School of Art and Design of Kristiania, one of whose founders was his distant relative Jacob Munch. His teachers were sculptor Julius Middelthun and the naturalistic painter Christian Krohg. That year, Munch demonstrated his quick absorption of his figure training at the Academy in his first portraits, including one of his father and his first self-portrait.
In 1883, Munch took part in his first public exhibition and shared a studio with other students. His full-length portrait of Karl Jensen-Hjell, a notorious bohemian-about-town, earned a critic's dismissive response: It is impressionism carried to the extreme. It is a travesty of art. Munch's nude paintings from this period survive only in sketches, except for Standing Nude (1887). They may have been confiscated by his father.
During these early years, Munch experimented with many styles, including Naturalism and Impressionism. Some early works are reminiscent of Manet.
Munch continued to employ a variety of brushstroke techniques and color palettes throughout the 1880s and early 1890s, as he struggled to define his style. His idiom continued to veer between naturalistic, as seen in Portrait of Hans Jæger, and impressionistic, as in Rue Lafayette.
His Inger On the Beach (1889), which caused another storm of confusion and controversy, hints at the simplified forms, heavy outlines, sharp contrasts, and emotional content of his mature style to come. He began to carefully calculate his compositions to create tension and emotion. While stylistically influenced by the Post-Impressionists, what evolved was a subject matter which was symbolist in content, depicting a state of mind rather than an external reality.
In 1889, Munch presented his first one-man show of nearly all his works to date. The recognition it received led to a two-year state scholarship to study in Paris under French painter Léon Bonnat.
Munch arrived in Paris during the festivities of the Exposition Universelle (1889) and roomed with two fellow Norwegian artists. His picture Morning (1884) was displayed at the Norwegian pavilion.
Munch was enthralled by the vast display of modern European art, including the works of three artists who would prove influential: Paul Gauguin, Vincent van Gogh, and Henri de Toulouse-Lautrec -all notable for how they used color to convey emotion.
The Scream by Edvard Munch, 1893
Munch was particularly inspired by Gauguin's reaction against realismand his credo that art was human work and not an imitation of Nature, a belief earlier stated by Whistler. By 1892, Munch formulated his characteristic, and original, Synthetistaesthetic, as seen in Melancholy (1891), in which color is the symbol-laden element.
Considered by the artist and journalist Christian Krohg as the first Symbolist painting by a Norwegian artist, Melancholy was exhibited in 1891 at the Autumn Exhibition in Oslo.
The Scream exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several lithographs of The Scream (1895 and later).
The 1895 pastel sold at auction on 2 May 2012 for US$119,922,500, including commission. It is the most colorful of the versions and is distinctive for the downward-looking stance of one of its background figures. It is also the only version not held by a Norwegian museum.
The 1893 version was stolen from the National Gallery in Oslo in 1994 and recovered. The 1910 painting was stolen in 2004 from The Munch Museum in Oslo, but recovered in 2006 with limited damage.
The Scream is Munch's most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man. Painted with broad bands of garish color and highly simplified forms, and employing a high viewpoint, it reduces the agonized figure to a garbed skull in the throes of an emotional crisis.
With this painting, Munch met his stated goal of the study of the soul, that is to say the study of my own self. Munch wrote of how the painting came to be: I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature. He later described the personal anguish behind the painting, for several years I was almost mad… You know my picture, 'The Scream?' I was stretched to the limit -nature was screaming in my blood… After that I gave up hope ever of being able to love again.
Separation by Edvard Munch, 1896
In 1896, Munch moved to Paris, where he focused on graphic representations of his Frieze of Life themes. He further developed his woodcut and lithographic technique. In the autumn of 1908, Munch'sanxiety,compounded by excessive drinking and brawling, had become acute.
The outbreak of World War I found Munch with divided loyalties, as he stated, All my friends are German but it is France I love. In the 1930s, his German patrons, many Jewish, lost their fortunes and some their lives during the rise of the Nazi movement. Munch found Norwegian printers to substitute for the Germans who had been printing his graphic work. Given his poor health history, during 1918 Munch felt himself lucky to have survived a bout of the Spanish flu, the worldwide pandemic of that year.
Munch spent most of his last two decades in solitude at his nearly self-sufficient estate in Ekely, at Skøyen, Oslo.
In 1940, the Germans invaded Norway and the Nazi party took over the government. Munch was 76 years old. With nearly an entire collection of his art in the second floor of his house, Munch lived in fear of a Nazi confiscation.Seventy-one of the paintings previously taken by the Nazis had been returned to Norway through purchase by collectors, the other eleven were never recovered, including The Scream and The Sick Child, and they too were hidden from the Nazis.
Munch died in his house at Ekely near Oslo on 23 January 1944, about a month after his 80th birthday. His Nazi-orchestrated funeral suggested to Norwegians that he was a Nazi sympathizer, a kind of appropriation of the independent artist. The city of Oslo bought the Ekely estate from Munch's heirs in 1946; his house was demolished in May 1960.
When Munch died, his remaining works were bequeathed to the city of Oslo, which built the Munch Museum at Tøyen, it opened in 1963. The museum holds a collection of approximately 1,100 paintings, 4,500 drawings, and 18,000 prints, the broadest collection of his works in the world.
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