Edvard Munch: Masterpieces from Bergen exhibition review
This must-see show features 18 paintings covering a crucial period when Munch’s work shifted markedly

In the UK, we tend to think of Edvard Munch (1863-1944) as a master of “existential angst”, said Florence Hallett in The i Paper. Yet as this exhibition at the Courtauld Gallery makes clear, that characterisation is only half right. Featuring 18 paintings on loan from a major collection of Munch’s work in Bergen, in his native Norway, it covers a crucial period, in the 1880s and 1890s, when his work shifted from dalliances with French impressionism to “the sparse, vibrant” portraits that have come to define him. These works – most of which have never been seen in Britain before – reveal that Munch was a resourceful artist, adept at capturing both “emotional intensity” and “the eerie, magical quality of Norwegian light”.
It’s “fascinating” to see how indebted Munch was to the French painters whose work is so well-represented at the Courtauld, said Jackie Wullschläger in the FT. Spring Day on Karl Johan Street (1890), which he painted after a visit to Paris, is a pointillist depiction of Oslo’s main thoroughfare on a sunny morning; the crowd is depicted as bright flecks, and its palette could almost belong to Seurat. Yet two years later, in Evening on Karl Johan Street, we see the same boulevard in dramatically different style. Dark figures loom forward, their faces like “pale masks”, their “button eyes” gazing straight at us through a haze of artificial light. This “breakthrough” painting paved the way for later “tormented” visions such as At the Deathbed (1895), inspired by his memories of his sister’s death from tuberculosis. Dark figures surround the bed, their pain and grief conveyed by “white or burning faces”, and hands that are “clenched, or gripping the bed, or in prayer”.
There is something spectacular in Munch’s depictions of “human misery”, said Laura Cumming in The Observer. Yet he was capable of subtlety, too. The paintings inspired by visits to his seaside home are transfixing: in Inger on the Beach (1889), we see his sister seated “among glowing rocks on the shore, her white dress incandescent in the gloaming”; and in Moonlight on the Beach (1892), five moons hang down, illuminating the scene “like a string of jewels”. Other works force one to marvel at Munch’s “extraordinary technique”, with his “lustrous pearl and silver strokes”, “insistent whorls”, and “seeping stains and haloed heads”. In his work, hair “takes on a life of its own”, while figures march straight out from the canvas. Perhaps strangest of all, in this must-see show, is a self-portrait he made in 1909 after having a breakdown: against a chaotic backdrop, the artist sits “upright and composed in a neat three-piece suit”. It’s “electrifying”.
The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
The Courtauld Gallery, London WC2 (020-3947 7711, courtauld.ac.uk). Until 4 September
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
Rebrands: Bringing back the War Department
Feature Trump revives the Department of Defense’s former name
-
Supreme Court: Will it allow Trump’s tariffs?
Feature Justices fast-track Trump’s appeal to see if his sweeping tariffs are unconstitutional
-
Democrats’ strategy to woo voters for 2026: religion
The Explainer Politicians like Rob Sand and James Talarico have made a name for themselves pushing their faith
-
A tour of Sri Lanka’s beautiful north
The Week Recommends ‘Less frenetic’ than the south, this region is full of beautiful wildlife, historical sites and resorts
-
Giorgio Armani obituary: designer revolutionised the business of fashion
In the Spotlight ‘King Giorgio’ came from humble beginnings to become a titan of the fashion industry and redefine 20th century clothing
-
Downton Abbey: The Grand Finale – a ‘comfort’ watch for fans
The Week Recommends The final film of the franchise gives viewers a chance to say goodbye
-
The Paper: new show, same 'warmth and goofiness'
The Week Recommends This spin-off of the American version of The Office is ‘comfortingly and wearyingly familiar’
-
Rachel Jones: Gated Canyons – ‘riotously colourful’ works from an ‘exhilarating’ painter
The Week Recommends The 34-year-old is the first artist to take over Dulwich Picture Gallery’s main space
-
Born With Teeth: ‘mischievously provocative’ play starring Ncuti Gatwa
The Week Recommends ‘Sprightly’ production from Liz Duffy Adams imagines the relationship between Shakespeare and Christopher Marlowe
-
Art review: Lorna Simpson: Source Notes
Feature Metropolitan Museum of Art, New York City, through Nov. 2
-
Jessica Francis Kane's 6 favorite books that prove less is more
Feature The author recommends works by Penelope Fitzgerald, Marie-Helene Bertino, and more