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M U N C H
The Cliff at Kragera,
1910-14 Unlike many of his modernist contemporaries, Munch rarely made any attempt to beautify the surface of his canvases with any kind of obvious dexterity, elegant handling of the brush or pleasing painterly texture. He usually painted thinly, and when he does employ impasto or other special effects with the brush or palette-knife they usually appear as attributes of what is painted, not as self-expressive embellishments of surface. Consequently surface texture tends to have little aesthetic appeal and is not allowed to distract from the pictorial content of the scene; the notion of the slick 'well-made painting' was foreign to Munch's conception of his art. He had the idea that to appreciate his pictures properly it was preferable to see them from a distance. He was certainly right in this case. If looked at close up it appears comparatively flat but from a distance the forms spring into vivid three dimensional reality. It is one of the most powerful of Munch's landscapes. Again the approach is basically naturalistic, but with obvious liberties of color, structure and handling - an imaginative response to a view actually perceived at a certain time under certain weather conditions. Hardly a trace of symbolism can be detected; the yellow patch in the distance is neither the sun nor the moon but a brightly lit building on an island in Krager Fjord, the opposite side of which looms darkly behind, and the reflection in the water is no longer a symbolic pillar but a more realistically conceived series of flickering dabs of color.
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