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M U N C H

Karl Jensen-Hjell, 1885
Oil on canvas
74 1/4x39 1/8 inches (190x100 cm)
National Gallery, Oslo

Among the conflicting elements in Munch's character was a strain of bravado in contrast to his fears and timidity. It came to the fore in the production of this portrait, which might well be deemed arrogant, firstly because it is the work of a very young painter exploring an artistic area, the full-length, life-sized portrait, largely outside the Norwegian tradition, secondly because the picture itself expresses arrogance, an almost caricatured swagger with offensive bohemian over tones. No wonder the conservative critics disliked it.

Karl Jensen-Hjell (1862-88) was a wealthy bohemian painter who died very young. He had been a fellow-pupil with Munch at Thaulow's open-air academy at Modum in 1883.

Munch did have one important Norwegian precedent: Krohg's 1882 portrait of the liberal politician Johan Sverdrup, also in its way a work of considerable daring. And asJensen-H/ellwa.s painted after his first brief visit to Paris, he had had the opportunity of studying the European tradition of the life-sized full-length. His picture has echoes of Velasquez, whom he encountered at the Louvre. The use of the cane may derive from Manet's Theodore Duret of 1868; the pose also recalls this work, and is even closer to several male full-lengths by Whistler and Courbet.

However much it depends on such models, Jensen-Hjell is a tour de force of imaginative construction. He stands close to the picture plane, and the distance of the artist's station point is short. The eye level is quite low , around the middle of the picture. This necessitates a wide vertical angle of vision to encompass the height of the figure and the space above and below it. The result is that the whole figure appears magnified into a convex curve, with the face foreshortened from below and the feet from above. Jensen Hjell's body seems to push us out of the picture space while he looks down at us disdainfully from a greater height and distance, granting us only the condescension of a one-eyed glance, his left eye being hidden by a reflection in his pince-nez. His hauteur is touched with comical irony by his bohemian aspect. Even leaning on a walking stick his pose might seem unsteady, but it is stabilized and given confidence by the pressure point of hip and hand against the stick being made to correspond approximately with the junction of the dimly seen intersection of walls and floor in the background, and by the horizontality of the cigar.

 

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