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The Sick Child (Munch)

The Sick Child is the title given to a group of six paintings and a number of lithographs, drypoints and etchings completed by the Norwegian artist Edvard Munch between 1885 and 1926. Each work records the moments before the death of his older sister, Johanne Sophie (1862–1877), from tuberculosis aged 15. Munch repeatedly returned to this deeply traumatic event in his art over a period of over 40 years. In the works, Sophie is typically shown on her deathbed, accompanied by a dark-haired, grieving woman assumed to be her aunt Karen; the studies often show her in a cropped headshot. In all the painted versions, Sophie is sitting in a chair, obviously suffering from pain, propped by a large white pillow, looking towards an ominous curtain likely intended as a symbol of death. She is shown with a haunted expression, clutching hands with a grief-stricken older woman who seems to want to comfort her but whose head is bowed as if she cannot bear to look the younger girl in the eye.

The paintings
Each painting shows Sophie in profile, lying on her deathbed, and obviously having difficulty breathing, a symptom of advanced, severe tuberculosis. She is propped from her waist up by a large thick white pillow which partially hides a large circular mirror hung on the wall behind her. She is covered by a heavy, dark blanket. She has red hair and is depicted as frail, with a sickly pallor and a vacant stare. A dark-haired and older woman in a black dress sits by the child's bedside, holding her hand. The bond between the two is established through the joining of their hands, which are positioned at the exact centre of each work. Their shared grip is typically rendered with such pathos and intensity that art historians believe that not only did the two figures share a deep emotional bond, but that they were most likely blood relations. In probability, the woman is Sophie's aunt The woman's head is bowed in anguish to the extent that she seems unable to look directly at Sophie. Because of this, her face is obscured, and the viewer can only see the top of her head. A bottle is placed on a dressing table or locker to the left. A glass can be seen on a vaguely described table to the right. The paintings vary in their colourisation. White especially figures in the first in the series, a representation of oblivion. Later, green and yellow represent sickness, while red is used to depict the most dramatic and physical feature of late-stage tuberculosis: coughing up blood. File:The Sick Girl (Edvard Munch) - Gothenburg Museum of Art - GKM 0975.tif|Edvard Munch, The Sick Child, 1896. The 2nd in the series was completed while the artist was living in Paris, Konstmuseet, Gothenburg. File:Edvard Munch The Sick Child Thielska 289.tif|Edvard Munch, The Sick Child, 1907. 3rd in the series. Oil on canvas, x . Thiel Gallery, Stockholm. File:Edvard Munch - The sick child (1907) - Tate Modern.jpg|Edvard Munch, The Sick Child, 1907. 4th in the series. Oil on canvas, × . Tate, London. File:MunchDaskrankeMaedchen.JPG|Edvard Munch, The Sick Child, 1925. 5th in the series. Oil on canvas, × . Munch Museum, Oslo. File:Edvard Munch - The Sick Child - MM.M.00052 - Munch Museum.jpg|Edvard Munch, 1927. 6th in the series. The six painted versions are: • 1885–1886, Nasjonalgalleriet, Oslo. Impressionistic and dominated by strong vertical brush strokes, composed mostly from whites, greys and greens. Small areas were later over-painted. • 1896, Konstmuseet, Gothenburg. Completed while Munch was living in Paris. Mostly greens and a richer palette, though thinner brush strokes. • 1907, Thiel Gallery, Stockholm. A commission from the Swedish financier and art collector Ernest Thiel. Thiel also commissioned from the much in demand Munch, a portrait of the banker's idol Friedrich Nietzsche, whose work he later translated into Swedish. • 1907 Tate, London. Evidence that this work was also commissioned by Thiel. For a time this painting was believed to have been executed in 1916. The work had been in the Gemäldegalerie, Dresden until 1928. • 1925 or earlier. Munch Museum, Oslo. The painting's dating is uncertain; some art historians have proposed a completion date as early as 1916. The later date of 1925 is based on the year of its first surviving record; photograph taken in Munch's studio. The analysis revealed an extensive palette consisting of pigments such as lead white, zinc white, artificial ultramarine, vermilion, red lake, red ochre, emerald green, chrome yellow, zinc yellow, and cobalt blue. ==Themes==
Themes
In 1930, Munch wrote to the director of Oslo's National Gallery stating that "As for the sick child, it was the period I think of as the Age of the Pillow. A great many painters did pictures of sick children on their pillows." Munch was referring to the then-prevalence of tuberculosis; contemporary depictions of the disease can be seen in the works of Hans Heyerdahl and Christian Krohg. ==Reception==
Reception
When the original version was first exhibited at the 1886 Autumn Exhibition in Christiania, it was jeered by spectators and drew "a veritable storm of protest and indignation" from critics dismayed at his use of impressionistic techniques, his seeming abandonment of line, and the fact that the painting seemed to be unfinished. Many found it unsatisfactory that the key passage in the painting –the women's joined hands– was not well detailed: there are no lines to describe their fingers, and the centrepiece consists essentially of blobs of paint. In defence, Munch said: "I don't paint what I see but what I saw", a reference to the fact that he painted from memory rather than from life. The exhibition was reviewed by the critic Andreas Aubert, who wrote: "There is genius in Munch. But there is also the danger that it will go to the dogs ... For this reason, for Munch's own sake, I would wish that his Sick Child had been refused ... In its present form this 'study'(!) is merely a discarded half-rubbed-out sketch." Over 40 years later, the Nazis deemed Munch's paintings "degenerate art" and removed them from German museums. The works, which included the 1907 version of The Sick Child from the Dresden Gallery, were taken to Berlin to be auctioned. Norwegian art dealer Harald Holst Halvorsen acquired several, including The Sick Child, with the goal of returning them to Oslo. The 1907 painting was purchased by Thomas Olsen in 1939 and donated to the Tate Gallery. ==Legacy==
Legacy
On 15 February 2013, four Norwegian postage stamps were published by Posten Norge, reproducing images from Munch's art to recognise the 150th anniversary of his birth. A close-up of the child's head from one of the lithographic versions was used for the design of the 15 krone stamp. ==See also==
Source: Wikipedia ↗
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