In Ibsen we find a number of statements about the interplay between painting and literature. This exchange between them was obviously connected with their fundamental aesthetic viewpoints and uniqueness as artists. 23 and 8)Īn interesting example he could have mentioned is the unique ‘relationship of reciprocity’ between Ibsen’s literary work and Munch’s pictorial art, which is my topic. (Muserne er kærlige søstre, Copenhagen 1992, pp. 500 BC): “Painting is silent poetry – and poetry talking painting” – and he mentions a number of examples of great painters having inspired great literature, or vice versa. He illustrates his view with an epigram formulated by the Greek writer Simonides (c. “The fact that the process is so smooth, albeit not always so happy, rests on kinship between the inner vision of the writer and the inner vision of the pictorial artist: they both have, in their mind’s eye, a bright or dark vision of what they want to create in the material of their trade: the word, the lines, the colours, the canvas.” Billeskov Jansen, the Nestor of Nordic literary research. “There is a relationship of perpetual reciprocity between literature and pictorial art”, writes Professor F. ![]() Lars Roar Langslet: Henrik Ibsen and Edvard Munch Translated by Patrick Nigel Chaffey The text is based on a lecture given at the Rome conference Ibsen and the Arts: Painting - Sculpture - Architecture in October 2001. In this essay Lars Roar Langslet closely examines the connections between these two great pillars of Norwegian art. Ibsen’s literary production was one of the most central sources of inspiration for Edvard Munch’s art.
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