Head of an Old Man with Beard

1902

Expressionism
Head of an Old Man with Beard
Dimensions
46.0 × 32.5 cm
Medium
Color woodcut on paper
Collection
The Art Institute of Chicago
Edvard Munch

Norway

Edvard Munch

1863 – 1944

A celebrated Norwegian painter active from the late nineteenth century to the fi…

✦ Highlights (technique & color)

This color woodcut is rendered in two colors, black and red. The old man's deep wrinkles and long beard are accentuated by the bold, deep gouges of the carving tool. The rough wood grain printed onto the paper seamlessly evokes the weathered texture of the man's skin, seasoned by years of wind and cold.

✦ The setting of this painting

While no specific landscape is depicted, the models were aged fishermen who endured the harsh conditions of the North Sea. The deep wrinkles etched into their faces from a lifetime in the elements served, for Munch, as a universal canvas reflecting the indomitable human spirit.

✦ Historical context

In 1902, Munch's artistic reputation was reaching its zenith across Europe following his exhibition at the Berlin Secession. Yet in his private life, this was a deeply traumatic period: a turbulent relationship with his lover culminated in a gunshot incident that severed the middle finger of his left hand.

✦ A question to consider

What emotions do you sense as this old man gazes back at you?

From the darkness, the face of an old man emerges.
Deeply etched wrinkles between his brows, and a long, flowing beard.
A vivid red color spreads across the background.

The year is 1902.
The painter Edvard Munch was gaining renown throughout Europe.
His exhibition in Berlin had been a success.
His reputation as an artist was nearing its peak.

However, his private life was steeped in tragedy.

His long-time lover, Tulla Larsen.
His relationship with her had escalated into a tumultuous drama of love and hate.
And in the autumn of that year, an incident occurred at their villa in Åsgårdstrand.

A pistol misfired.

As a result of this accident, Munch lost the first joint of his left middle finger.
For a painter, the physical pain of losing a finger was immense.
But what tormented him even more was the collapse of his self.
The fear of death.
And a deep distrust of others.
His psyche suffered a profound, unhealing trauma.

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