Around 1890 -1943 · Thuringia, Norway, Ekely and seasonal rehearsal

Munch transforms trunks, snow and foliage into psychological forces: the forest repeats itself according to the seasons like an organism crossed by solitude, energy and memory.

Edvard Munch painted the forest throughout his career, from trips to Germany to the late years of Ekely, a property acquired near Kristiania in 1916. The pattern did not simply serve as a setting for his figures. The vertical trunks tighten or open the space, the paths draw the eye and the color transforms each season into a physical state. The views of the Thuringian forest preserve the memory of German stays and a darker modernity. The views of the Thuringian forest preserve the memory of German stays and a darker modernity. The views of the Thuringian forest preserve the memory of German stays and a darker modernity. The numerous spruce forests reflect the same motif with differences in framing, touch and palette: the numerous spruce forests take up the same motif with differences in framing, touch and palette: the repetition allows Munch to follow the growth as much as his own changing perception. Winter reduced the branches and the ground have a light framework; On the contrary, autumn brings intense reds, ochres and greens. In Ekely, the woods and orchards directly surround the open-air workshop. The late forest thus becomes a laboratory of monumental color, linked to daily work and the cycle of time. The "Edvard Munch Forests" selection notably compares Autumn in the Forest and the Forest of Thuringia. His reading favors the story.

In Munch, trees do not remain still: their repetition, color and inclination transmit an inner tension to the landscape.