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Liljefors: Dovehawk and Black Grouse, 1884, Sweden --based on a natural phenomenon --influenced by Japanese prints and his stay at Grez --objects in back are sketchy and main object is clear and detailed --based on Darwinian ideas of abundance, chance, survival
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Liljefors: Mating of the Capercaillies, 1888, Sweden --photographic --he carried the canvas to this location several times --Scandinavian Neoromanticism --well received when he painted it
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Liljefors: Owl Deep in the Forest, 1895, Sweden --Romantic nationalism bordering on impressionism --suggests a mood: somber and threatening --Liljefors identified with the lone owl --forest looks inhospitable because it's dark and brooding
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Liljefors: Wild Ducks in Horsetail Reeds, 1901, Sweden --ducks flow with the same rhythm as the waves --lines and color become blurred together --symbolic
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Zorn: Our Daily Bread, 1886, Sweden --grass and weeds are in the French style --shows the cycle of life with the girl carrying sticks (youth and vigor) and grandmother cooking --high horizon and isolation of foreground figure |
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Zorn: The Fair at Mora, 1892, Sweden --naturalist image of life --the fair was the most important event and drinking was common --shows a drunken man passed out with wife waiting for him and people passing by without looking twice
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Zorn: Red Sand, 1902, Sweden --he used photography to capture sunlight on skin --not sexual, but heathful aspect of natural living --slightly resembles M.J. Yemms
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Zorn: Midsummer Dance, 1897, Sweden --popular summer festival on the longest day of the year --social and cultural bonds --mood and lighting is more important than details and clothes --preserved Swedish tradition with native dress
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Munch: Death in the Sickroom, 1893, Norway --Sophie's death --everyone experiences the lose in the family in isolation --she died when they were children, but represented as adults in the painting, which shows that her death still haunts them
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Munch: Evening on Karl Johan Street, 1892, Norway --threatening --mask-like faces and clone-like clothes show that they are trapped in society --single man walking against crowd symbolizes Munch and his insanity
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Munch: Evening or Inger on the Beach, 1889, Norway --blue light of evening --the girl against the tiny people in the boat emphasize her aloneness --she stares off into the distance, like Munch (and M.J. Yemms)
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Munch: Girls on the Jetty, 1899, Norway --tranquil, lighter subject than Munch's normal paintings --colors and lines artistic; realistic to a point --happy, young
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Munch: Melancholy (Laura), 1898-9, Norway --Munch's sister who was institutionalized --disturbed, not a calm and domestic setting --subject is uncomfortably isolated and stares blankly --shapes on tabletop resemble brain formation, symbolizes her mental state
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Munch: Night, 1890, Norway --painted in/of the apartment he holed up in after Munch's father died
--blue tones enhance the somber mood --contemporary color theory = blue and violet = sadness and grief
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Munch: Self-Portrait with a Wine Bottle, 1906, Norway --his only companion is a lone wine bottle --no explanation for blood red shape behind his head, added moustache line and eyeline --shows his alcoholism
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Munch: Self-Portrait Between Clock and Bed, 1940-1, Norway --stands rigidly but shrunked by old age --his figure is echoed in painting behind him and nude to the right --bed suggests rest for weary and death
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Munch: Summer Night's Dream (The Voice), 1893, Norway --woman strikes a commanding presence --moonlight on water is a phalic symbol --sexual attraction and repulsion
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Munch: The Dance of Life, 1899-1900, Norway --woman in three stages: virginal woman, mature seductres, and matronly mourning woman --part of the Love, Life, and Death series --allegory of life
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Munch: The Scream, 1893, Norway --colors are somewhat naturalistic, but heightened for symbolic purposes --internal fear takes over figure --image of isolation and horror --part of the Love, Life, and Death series
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Munch: The Sick Girl, 1885-6, Norway --from experience of watching his sister die --very large and forceful in intention to make a statement --precursor to expressionism --not well received at all
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Munch: Vampire, 1893, Norway --hair is highlighted by blood red pigment to suggest evil and destruction --represents Munch's fear and hatred of women, sucks the lifeblood from Munch --the woman is shown to emasculate and consume man
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Sohlberg: Summer Night, 1899, Norway --represents nature and culture simultaneously --romantic --allure of wide open spaces --shows intimate and budding sexuality with the abandoned table and slightly open door
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Sohlberg: Winter Night in Rondane, 1914, Norway --the mountain is a subject of the sublime --mountains are nature's overpowering presence --the trees in the foreground are in various stages of growth, decay, and death --icon of Norwegian painting --one of M.J. Yemms' favorite paintings
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Sohlberg: Flower Meadow in the North, 1905, Norway --the house shows that man lives in harmony with nature --rigid symmetry --very detailed daises in foreground and domestic scene and sky in background --the moon is in the middle of the canvas
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Sohlberg: Night, 1904, Norway --Baroque church is in the exact center of painting just like the church is the center of town life --flowers on the open grave symbolize death that awaits us all --color is sophisticated and light emanates from within
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Astrup: Midsummer Night's Fire, undated, Norway --primitive and heathenistic tone --mountains on 3 sides frame the revelers --they celebrate their unity with nature by fire
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Astrup: King-Cup Night, undated, Norway --brightly (and sometimes unrealistically) colored --no shading, universally lit --looks as if a child could have painted it
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