Few subjects cared for his unnerving depictions — and a show at London’s National Portrait Gallery makes clear why
Edvard Munch learnt quickly that “when I paint a person his enemies always find the portrait a good likeness. He himself believes, however, that all the other portraits are good likenesses except the one of himself.” For all the pleasures of passionate eloquence and radiant colour in the National Portrait Gallery’s new exhibition Edvard Munch Portraits, you see why few of his subjects cared for Munch’s depictions.
Both imply a figure caught between life and death. From a childhood marked by the loss of his mother and sister, Munch explained: “As long as I can remember I have suffered from a deep feeling of anxiety . . . I always find myself drawn inexorably back towards the chasm’s edge, and there I shall walk until the day I finally fall in to the abyss.” A trio of sensitive early portraits, 1885-86, are perhaps alter egos.
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