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拍品专文
Frühling in Kragerø, painted in 1921, marks Munch's revisiting of a town that had provided the backdrop to some of his most important successes in his artistic career. Despite having lived at Ekely since 1916, Munch continued to pay tribute in his art to Kragerø and its landscape, especially in his art. Following the breakdown of his health in 1908, Munch had been committed to a sanatorium where, ironically, his art had flourished. He had finished many unfinished works, and began many more. So a period commonly considered one of his lowest became in fact one of his most productive. On emerging from his clinic, he had moved to the coastal town of Kragerø and continued in this vein. So the place came to him to be associated with revitalisation and prosperity, and during this time he received some of his most important commissions including the famous University Aula murals.
Since the 1910s, Munch's art had come to be characterised by an interest in colourism, as opposed to his more Expressionistic works from the earlier part of his career. However, Munch retained a significant interest in innovation. Although Cézanne had been dead for some time when Frühling in Kragerø was painted, it is clear that his interest in form and volume has to some extent informed Munch's treatment of the view. Munch is here trying to combine a delicate palette with a sense of volume to lend a sense of the view that translates more than a mere impression or view. Instead, he fills this work with an almost tangible sense of volume and yet manages to lend it a strong sense of emotional content. The diaphanous leaves on the trees and the strange sense of light combine to fill this work with a strange and eerie tranquillity, as though some ghostly feeling enshrouded the town. At the same time, the bustling bunching of the houses speaks of Kragerø's sociability. The distant viewpoint that the artist has taken in Frühling in Kragerø emphasises his distance from this sociability, as Munch was effectively isolated in his home at Ekely, devoting himself largely to agriculture and his painting. This distance increases the sense of nostalgia in the painting, as Munch himself recalls the town and the good life he had enjoyed there.
Since the 1910s, Munch's art had come to be characterised by an interest in colourism, as opposed to his more Expressionistic works from the earlier part of his career. However, Munch retained a significant interest in innovation. Although Cézanne had been dead for some time when Frühling in Kragerø was painted, it is clear that his interest in form and volume has to some extent informed Munch's treatment of the view. Munch is here trying to combine a delicate palette with a sense of volume to lend a sense of the view that translates more than a mere impression or view. Instead, he fills this work with an almost tangible sense of volume and yet manages to lend it a strong sense of emotional content. The diaphanous leaves on the trees and the strange sense of light combine to fill this work with a strange and eerie tranquillity, as though some ghostly feeling enshrouded the town. At the same time, the bustling bunching of the houses speaks of Kragerø's sociability. The distant viewpoint that the artist has taken in Frühling in Kragerø emphasises his distance from this sociability, as Munch was effectively isolated in his home at Ekely, devoting himself largely to agriculture and his painting. This distance increases the sense of nostalgia in the painting, as Munch himself recalls the town and the good life he had enjoyed there.