Contact Admin. Jul 20, Art 0 comments. LONDON — Retrospectives of long-dead artists are not merely an opportunity to examine how their philosophies and aesthetics match up to the modern day. They are often explicitly sold on the notion of enduring relevance.
Munch himself averred the importance of the Bohemians for his aesthetic development: they encouraged his turn away from realism in favor of expressionism and raw emotionality. Yet as Love and Angst seems to oversell his overt political commitments it fails to directly explore the areas where the limits of his supposed radicalism lay exposed. Nor is this limited to fictional and allegorical depictions.
Munch himself, by contrast, appears hale and hearty. The label notes that Juel was later murdered by a lover. Contributions to the show by other artists, included in an attempt to furnish context, reveal a similar distrust of women. Every biographical show runs the risk of sliding into hagiography. But the equation of aesthetic avant-gardism with social vanguardism is an all-too-common fallacy, one that Love and Angst slips into.
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