1. EDVARD MUNCH: A VISION OF THE SELF AND OTHERS.

2. “No longer shall I paint interiors, and people reading, and women knitting. I shall paint living people who breathe and feel and suffer and love -- I shall paint a number of pictures of this kind. People will understand the sacredness of it, and will take off their hats as though they were in church.” Edvard Munch, 1889. “Munch did not close his eyes to modern Inferno. So he was able to diagnose the panic and universal anxiety. Oskar Kokoschka, 1953

3. Munch, The Scream, 1893.

4. Munch, Death in the Sick Room, 1895.

8. Munch, Angst, 1894.

9. Munch, Karl Street, 1892

10. Munch, Karl St, 1890.

11. Munch, Karl Street, 1892

12. MUNCH, THE VOICE (Summer Night) 1905.

13. Munch, The Dance (Life), 1899-1901.

14. Munch, Kiss on the Shore, 1921.

16. Munch, The Kiss, 1896.

18. Munch, Death and the Maiden, 1894.

20. Munch, Death and the Maiden, 1894.

21. Edvard Munch, Madonna, 1894-95.

22. Munch, Madonna, litho, 1894-95.

23. Munch, Kiss on the Shore, 1921. Munch, The Kiss, 1896.

24. Munch, Vampire, 1895.

25. Munch, The Dance (Life), 1899-1901.

26. Munch, Three Ages of Woman, Sphinx, 1899.

27. MUNCH, THE VOICE (Summer Night) 1905.

28. Edvard Munch, Madonna, 1894-95.

29. Munch, Sin 1901.

30. Munch, Woman with a Snake (Alpha and Omega series), 1908-09.

31. Munch, Harpy, 1894.

32. Munch, The Alley (Carmen), 1895.

33. Munch, Hands, 1893.

34. Munch, The Scream, 1893.

35. Munch, Angst, 1894.

36. Munch, Death in the Sick Room, 1895.

37. “Illness, alcoholism, the agonies of loneliness in adolescence, maturity, and old age, the peremptory demands of love, which is only the compulsion of desire, and its issue in disenchantment, jealousy, and despair, these are the stages through which life, in Munch’s terms, must pass. The tensions between instinct and society, as he presented them, can never be resolved. If the end is madness, to which he himself nearly came, one’s only recourse may be to look these terrors in the face, as he did in his remarkable self-portraits, especially that known as IN HELL, where the naked soul peers out of the naked body.” George Heard Hamilton, 1967.