病魔、疯狂和死亡是围绕我摇篮的天使，且持续的伴随我一生。我们想要创作的不是那种给人们挂在客厅墙上的漂亮图画，而是捕捉人性的作品，可以扣动心弦最深处的艺术。
©爱德华·蒙克｜生病的孩子 The Sick Child
他们是不会去理解这些绘画是在竭诚和痛苦中创作的，它们是不眠之夜的作品，它们耗费了我的血液和消磨了我的神经。They don't understand that these paintings are created with dedication and pain. They are works of sleepless nights. They consume my blood and nerves.（窗口）
如果你想要画的是情绪，那么带上它所有的力量。否则你就不能坐视和凝望对象，确切地描绘你所见到的每一个细节。你要去画它所必须展示的，那刚好是在你对主题的情绪反射之中产生的那一个。If you want to paint emotions, take all the power with you. Otherwise, you can't just sit back and stare at the object and describe exactly every detail you see. What you have to show to draw it is just the one that is produced in your emotional reflection of the subject.现在对多年前看我们的绘画的那些人进行说教已经变成一桩相当可笑的事了。当时他们的态度要么是嘲笑，要么是责备地摇着他们的头。他们不相信，这些印象，这些瞬间的感觉，能包含最细微的精神健全。如果树是红色或蓝色的，或面孔是蓝色或绿色的，他们肯定会说，这家伙是疯子。Now it's quite ridiculous to preach to the people who saw our paintings many years ago. At that time, their attitude was either laughing or shaking their heads reproachfully. They don't believe that these impressions, these instant feelings, can contain the slightest mental health. If the tree was red or blue, or the face was blue or green, they would say, this guy is crazy.©爱德华·蒙克｜哭泣的裸体 1913-1914
我的一生是在深不见底的悬崖边缘行走，从一块石头跳到另一块石头。有时我想离开我狭窄的小径加入晕眩的生活的主流，但我总是发现自己被冷酷无情地拖回悬崖边缘，走到直到有一天我终於掉入那深渊。从我开始记事时，我就受到这种深刻的焦虑感的折磨，我一直设法用我的艺术来表现这种感觉。没有焦虑和疾病我应该是象一艘没有舵的船。My life has been walking on the edge of a deep cliff, jumping from one stone to another. Sometimes I want to leave my narrow path to join the mainstream of dizzy life, but I always find myself dragged back to the edge of the cliff mercilessly until one day I finally fall into the abyss. I've been suffering from this deep anxiety ever since I began to remember, and I've been trying to express it in my art. Without anxiety and disease, I should be like a ship without a rudder.（对眼相望）
我和两个朋友一起漫步，夕阳西下。我感到一丝淡淡的忧郁。突然天空变得像血一样红。我止住脚步，斜倚栏杆，精疲力尽。我望着燃烧的云，血染般的红，象一把剑，垂悬在蓝黑色的深谷峡湾和城市的上方。朋友继续走着，我却停在那里因不安而颤抖，我忽然感到一声强烈的、永无止境的尖叫穿过宇宙。I was walking with two friends and the sun was setting. I feel a touch of melancholy. Suddenly the sky became as red as blood. I stopped, leaned against the railing, exhausted. I look at the burning clouds, bloody red, like a sword, hanging over the deep blue and black fjords and cities. My friend continued to walk, but I stopped there, trembling with uneasiness. Suddenly I felt a strong, never-ending scream across the universe.
©爱德华·蒙克｜夜游者 1923-1924
他们是不会去理解这些绘画是在竭诚和痛苦中创作的，它们是不眠之夜的作品，它们耗费了我的血液和消磨了我的神经。They don't understand that these paintings are created with dedication and pain. They are works of sleepless nights. They consume my blood and nerves.
当我画画的时候，我从未想到出售。人们只是不了解，我们绘画是做实验，是为了开拓自身以力求达到更高的精神境界。When I was painting, I never thought of selling. People just don't understand that our painting is to do experiments, to develop ourselves and strive to achieve a higher spiritual realm.©爱德华·蒙克｜Edvard Munch, 1893: 'The Scream
1863年12月12日，爱德华·蒙克出生于挪威雷登在奥斯陆长大。他的父亲患有精神病，他向他的孩子们灌输了对地狱的根深蒂固的恐惧，父亲一再告诉他们, 如果他们在任何情况下、以任何方式犯有罪孽，他们就会注定被投入地狱，没有任何宽恕的机会。Edward Munk was born in Leiden, Norway, and grew up in Oslo on December 12, 1863. His father was mentally ill, and he instilled a deep-rooted fear of hell into his children. His father repeatedly told them that if they committed crimes under any circumstances and in any way, they would be doomed to hell without any chance of forgiveness.之后，蒙克为成为一名工程师而进工学院念书受印象主义画风的影响，然而，频繁的患病中断了他的学业。Later, Munch went to engineering school to become an engineer. Influenced by Impressionism, however, frequent illness interrupted his studies.1885年，蒙克前往巴黎，他的作品开始显示出法国画家的影响；一开始是印象派，接着是后期印象派，然后是新艺术造型。爱德华·蒙克的绘画尽管风格上是后期印象派的，但在主题上却是象征派的，他的绘画内容在于刻画内心世界而不是外在现实。后来，他改用传统的画法创作《病孩》变体画《春》，从而获得奖学金去法国留学，从师L.博纳。在法国，他在研究印象主义画法的基础上，转而对后印象主义和纳比派发生兴趣。他发现线条和色彩有强烈的表现力，试图用它们画出活生生的人们，他们的呼吸、感觉、受苦受难并彼此的相爱。In 1885, Munch went to Paris, and his works began to show the influence of French painters; First Impressionism, then Post Impressionism, then new art form. Although Edward Munch's paintings are post Impressionist in style, they are symbolic in theme. The content of his paintings is to depict the inner world rather than the external reality. Later, he used the traditional painting method to create the variant painting spring of sick child, so he won a scholarship to study in France and became a teacher of L. Boehner. In France, on the basis of studying Impressionism, he turned to Post Impressionism and nabit. He found that lines and colors have strong expressive force, trying to use them to draw living people, their breathing, feeling, suffering and love each other.©爱德华·蒙克｜Edvard Munch Hed by head Oil on canvas 1905
1908年秋，他的焦虑变得深刻并在丹尼尔·贾可布逊博士的诊所住院接受治疗。医院里施行的休克疗法改变了他的个性。In the fall of 1908, his anxiety became profound and he was hospitalized at Dr. Daniel Jacobson's clinic. Shock therapy in the hospital changed his personality.次年，蒙克回到挪威，更多地表现出对大自然的兴趣，他的作品变得更富于色彩，减少了悲观的成分。在纳粹统治期间，蒙克的作品被贴上了“颓废艺术”的标签，从德国的各个美术馆撤了下来。对于反纳粹主义的蒙克来说是很伤心的，因为他把德国看作为他的第二祖国。The next year, Munch returned to Norway to show more interest in nature. His works became more colorful and less pessimistic. During the Nazi rule, Munch's works were labeled 'decadent art' and removed from German art galleries. For the anti Nazism monk, it is very sad, because he regards Germany as his second motherland.1944年1月23日，爱德华·蒙克于奥斯陆附近的艾可利与世长辞。他向奥斯陆捐赠了1000幅油画，15400张版画，4500件素描和水彩画，还有6件雕刻作品。后来为纪念蒙克，建造了爱德华·蒙克美术馆。On January 23, 1944, Edward Munch died in eckley, near Oslo. He donated 1000 oil paintings, 15400 prints, 4500 sketches and watercolors, and six sculptures to Oslo. Later, in memory of Munch, the Edward Munch gallery was built.蒙克 《卡尔约翰街上的春日》 油画 1890 年
蒙克有一句格言：“一件艺术品仅仅来自人的内心。”
蒙克 《病室里的死亡》 油画 1890 年
尽管蒙克的心理感受是独特的，但是，能具有不衰竭的活力，离不开象征主义文学家、戏剧家马拉美、斯特林堡（August Strindberg，1849—1912）的思想滋养，尤其是后者无时间地点、无连贯情节、无完整人物形象的荒诞戏剧，给蒙克探视神秘的心理现实増加了勇气。而他的朋友易卜生（Henrik Johan Ibsen，1828—1906），尽管是现实主义的问题剧大师，但他的敏锐的洞察力对蒙克突破可视的现实，通过精神生活揭示社会现实的本质无疑是一种不可忽视的推动力。
《呐喊》前身之《日落下的黯然：绝望》，1892年
分离 蒙克 1896 年
由于疾病的现实和死亡的悲剧，在画家心中必然要唤起对死亡的恐惧，但更重要的是，“并非因此要使我的艺术非表现丑恶不可。相反，我感到我的艺术要发挥健康的反作用”。所以，“爱”这个主题，才是蒙克追求的最终目的。
夏夜 蒙克 1893 年
他不是画模样，他在画心灵，一个嫉妒、悔恨、绝望、颓废的心灵。
蒙克 《吻》 油画 71.3cm×61cm 1897 年画家曾说过：“我们应该停止画有看书的男人和结毛线的女人的室内画。我们必须画呼吸、感觉、痛苦、恋爱的人们。我将要画一系列这样的画。在这些画中最为突出的是神圣的上帝。”
蒙克 《生命之舞》 油画 125cm×191cm 1899—1900 年
红与白 蒙克 1900 年
蒙克的绘画语言既是象征的，更是表现的，因此，他被视为表现主义先驱。
蒙克 《蒸汽火车》 油画 84cm×109cm 1900 年蒙克 《墓地》 油画 1900 年
自画像 蒙克 1903 年
星夜 蒙克 1922 年
自画像 蒙克 1943 年
艺术，一切皆有可能
Art, everything is possible
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