Edvard Munch — Expressionism Gallery from 1892 to 1932
Edvard Munch was one of the most expressive representatives of Expressionism. His paintings, filled with anxious symbolism and emotional intensity, became a revelation for his time — a mirror of feelings, solitude, fear, love, and inevitability. He was not merely a painter: he painted the soul — broken, suffering, yet passionately seeking truth.
Edvard’s artistic talent emerged at an early age. His mother died of tuberculosis when he was only five years old, and soon after he lost his older sister. These tragedies left a deep mark on all of the artist's work. Munch was not afraid to depict pain and death, exposing the fragility of human existence. His famous quote — «Illness, madness, and death were angels who surrounded my cradle» — became the key to understanding his art.
In his paintings there is no comfort — only truth. The faces of people are distorted by anxiety, the landscapes pulse with uneasy light, and the lines seem to tremble. Munch, more than anyone else, managed to visualize inner states of the human soul, making psychology the central theme of painting.
Starting from the late 1900s, the artist’s style began to change: brushstrokes became broader, the palette brighter, compositions more dynamic. Yet he remained faithful to his main message — exploring the human being on the edge.
We have selected over 50 paintings created by Munch between 1892 and 1932 for publication, for several reasons:
- This period covers both the formative and mature stages of the artist, showing the evolution of his artistic language.
- The works reflect the key issues of their time — urbanization, alienation, and the struggle with inner demons.
- Munch’s paintings possess high aesthetic and investment value — this is art that continues to move, fascinate, and provoke thought even today.
Munch’s Gallery of Paintings
This section presents the most significant works of Edvard Munch — from his earliest expressionist explorations to the mature canvases of the 1930s. The paintings are arranged chronologically so that readers can trace the development of the artist’s style, themes, and emotional range. Each canvas is a personal drama — a cry of the soul frozen in paint. We have made every effort to gather high-resolution reproductions to convey the character of the brushstroke, depth of color, and the atmosphere created by Munch himself.
Edvard Munch - Moonlight on the Shore
1892, 62 × 96 cm
Edvard Munch - Inger in Black and Violet
1892, 172 × 122 cm
Edvard Munch - The Kiss
1892, 73 × 92 cm
Edvard Munch - Summer Nights Dream the Voice
1893, 87 × 108 cm
Edvard Munch - Sunrise in Asgardstrand
1894, 65 × 89 cm
Edvard Munch - Puberty
1894, 151 × 110 cm
Edvard Munch - The Vampire Love and Pain
1894, 100 × 110 cm
Edvard Munch - Moonligh
1895, 93 × 110 cm
Edvard Munch - The Vampire
1895, 91 × 109 cm
Edvard Munch - The Voice Summer Night
1896, 90 × 119 cm
Edvard Munch - Study of a Model
1898
Edvard Munch - Man and Woman
1898, 60 × 100 cm
Edvard Munch - Bathing Girls
1899, 68 × 91 cm
Edvard Munch - Winter
1899, 60 × 90 cm
Edvard Munch - Mother and Daughter
1899, 135 × 163 cm
Edvard Munch - Summer Night in Studenterlunden
1899
Edvard Munch - Landscape with Train Smoke
1900, 84 × 109 cm
Edvard Munch - The Dance of Life
1900, 129 × 191 cm
Edvard Munch - Dancing on a Shore
1900, 95 × 95 cm
Edvard Munch - Red and White
1900, 93 × 129 cm
Edvard Munch - Winternacht
1900, 80 × 120 cm
Edvard Munch - Winterwald
1900, 60 × 90 cm
Edvard Munch - Midsummer Nights Eve
1901, 81 × 80 cm
Edvard Munch - New Snow
1901, 72 × 82 cm
Edvard Munch - Starry Night Stjernenatt
1901, 59 × 74 cm
Edvard Munch - The Girls on the Bridge
1901, 136 × 135 cm
Edvard Munch - The Girls on the Bridge
1901, 83 × 129 cm
Edvard Munch - Winter Night
1901, 73 × 49 cm
Edvard Munch - Clothes on a Line in Asgardstrand
1902, 67 × 72 cm
Edvard Munch - Girls on the Bridge
1902, 101 × 103 cm
Edvard Munch - Summer Night
1902, 115 × 101 cm
Edvard Munch - Summer Night at the Beach
1903, 103 × 120 cm
Edvard Munch - The Ladies on the Bridge
1903, 203 × 230 cm
Edvard Munch - Shore with Red House
1904, 69 × 109 cm
Edvard Munch - Thuringian Forest
1904, 45 × 34 cm
Edvard Munch - Der Garten in Asgardstrand
1905, 58 × 74 cm
Edvard Munch - From Thuringewald
1905, 80 × 100 cm
Edvard Munch - Avenue in the Snow
1906, 80 × 100 cm
Edvard Munch - Weeping Nude
1913, 80 × 100 cm
Edvard Munch - High Summer
1915, 95 × 119 cm
Edvard Munch - Ploughed Field
1916, 70 × 90 cm
Edvard Munch - Seated Young Woman
1916, 136 × 110 cm
Edvard Munch - Weeping Nude
1919, 100 × 120 cm
Edvard Munch - Winter Night Vinternatt
1923, 100 × 80 cm
Edvard Munch - Spring Landscape
1924, 100 × 125 cm
Edvard Munch - Seated Model on the Couch
1924
Edvard Munch - House Wall in Moonlight
1924, 90 × 68 cm
Edvard Munch - Kragere in Spring
1929, 98 × 95 cm
Edvard Munch - Apple Tree in the Garden
1932
Gostev's: Evaluation of Munch’s Painting
Evaluating Munch’s reflections through painting, relying on our own judgment, sense of taste, and the emotional impact of his work, we select four paintings in which, within the entire paradigm of suffering, there is hope. Munch’s paintings transmit one obsessive thought:
Nothing is happening, but in a second it will.
Amid anxiety and fear in the works of the Norwegian expressionist, we choose hope. We choose stars:
Edvard Munch - Starry Night
1893, 135 × 140 cm
Edvard Munch - White Night
1901, 115 × 111 cm
Edvard Munch - Starry Night
1922, 120 × 100 cm
Edvard Munch - Starry Night
1924, 140 × 119 cm
Influence on the Painting of an Anxious Era
Many saw in Munch’s works a premonition of the modern world. Nervous, fragmented, anxious — yet still alive. A spiral of stagnation and suffering gives way to hope, only to tighten again into a dramatic knot.
Anatoli Gostev considered Munch’s art too dark. In his view, painting should awaken light feelings rather than sow anxiety. But once he said:
I took on writing something like this fourteen years ago and still cannot finish it. Night. Mad dogs see a burning symbol of some kind of faith at the end of the street. Anxiety and chaos in the darkness — the Painting of an Anxious Era.
— Anatoli Gostev (1946–2022)
Legacy and Value of Munch’s Works
According to the artist’s will, all his remaining works in his home were donated to the city of Oslo after his death. This formed the foundation of the future Munch Museum, which opened in 1963. It includes over 1000 paintings, 15,000 graphic works, tens of thousands of sketches, and manuscripts.
Munch’s works have repeatedly set sales records. In 2006, his lithograph “Two (Lonely Ones)” was sold for 8.1 million Norwegian kroner (approximately $1.27 million), becoming the most expensive print ever sold in Norway.
In 2012, one of the four existing versions of “The Scream” was auctioned at Sotheby’s for $119.9 million, setting an absolute record at the time. Since then, Munch’s paintings have become highly sought-after collector's items, especially within the sphere of "investment art".
Munch’s portrait appears on the 1000 Norwegian kroner banknote. In 2013, on the 150th anniversary of the artist’s birth, the Norwegian postal service issued a series of stamps featuring his paintings.
| Sale Date | Title | Price | Value Growth | Auction House | City |
|---|---|---|---|---|---|
| 2 May 2012 | The Scream (1895 version) | $119.9 million | +3000% compared to $3.5 million (estimate from the 1980s) | Sotheby’s | New York |
| 4 Feb 2008 | Badende | £2,484,500 | +65% compared to £1.5 million estimate | Christie’s | London |
| 20 Mar 2013 | Young Woman on the Beach | £2,133,875 | +326% compared to £500,000 estimate | Christie’s | London |
| 10 Jul 2020 | Badende gutter | £1,811,250 | Within estimate range | Christie’s | London |
| — | Pikene på broen (Girls on the Bridge) | $54,487,500 | — | Sotheby’s | New York |
| — | Vampire | $38,162,500 | — | Sotheby’s | New York |
| 25 Mar 2021 | Summer Day (Embrace on the Beach) | £16,284,000 | +81% compared to upper estimate of £9,000,000 | Sotheby’s | London |
| — | Sommernatt (Summer Night) | $11,292,200 | Within estimated range ($10–15 million) | Sotheby’s | New York |
Evaluating an artist’s potential is not only a matter of aesthetics but also the result of analyzing rarity, cultural influence, recognizability, and demand. In Munch’s case, it combines powerful emotional charge, absolute recognizability, and historical significance.
Gostev Jr., Co-founder of Gostev’s & CEO of FABER VISUM
Before you is investment-grade painting worthy of both museum walls and private collections.
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