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M U N C H Ludvig Meyer, 1892 Ludvig Meyer was a lawyer, a socialist who consorted with bohemian circles in Christiania. He was an early admirer and patron of Munch, one of the few who recognized that The Sick Child was a great painting when it was first exhibited. Munch later painted a group portrait of his three children. This portrait demonstrates again Munch's extraordinary powers of observation and sympathetic insight, not to mention his sense of humor. Using the full-length form, he had the ability to catch a typical stance or momentary trick of poise. With legs set unheroically side by side and feet splayed, head, hat and stick tilted downward to the left, ears projecting (like Munch's own), eyes goggling, lips parted and eyebrows raised, Meyer emerges as a vivacious, almost comical, character. The man's basic lack of pretension is echoed in the simple combination of thinly painted, mottled dark and light blues and salmon pinks. To an extent the work resembles the portraits of Gauguin and the Pont-Aven school, but instead of tying up the face with positive lines into the straitjacket of a flat, stylized design, Munch models it more sensitively and in greater detail than other elements in the picture, so that it springs into three- dimensional life, independent of the flat pattern of which it is a part. At a Students' Union meeting at which Munch had been attacked, Meyer, a witty speaker, humorously related how this 'malicious' portrait had made life difficult` for him, making him feel exposed to the world and causing him to prefer the back streets for fear of encountering people snickering and nudging each other as he walked by. Then he went on to praise Munch both as a person and a great artist.
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