The Munch Museum in Oslo
has published more than 7,600 of the artist’s drawings online, making
them free to access for any purpose—even merchandising. The three-year
project to digitise the works, billed as a digital catalogue raisonné,
responds to a wider call for museums to waive image fees for works in
their collections that are out of copyright.
The
drawings date from 1873, when Edvard Munch was a boy of ten, to 1943,
the year before his death. “He drew incessantly and almost anywhere,”
says Stein Olav Henrichsen, the Munch Museum’s director. More than 90%
of the digitised works belong to the museum, but the online database also includes items from other public and private collections.
Web
users can now browse studies for some of the artist’s most celebrated
paintings, including The Scream. Other compositions reveal a lighter
side: a boy skiing and girls watering flowers, portraits of shaggy dogs
and still-lifes of an orange segment and a toothbrush. Oslo landmarks
such as Old Aker Church and the Grand Café are also captured.
“It’s
very important to make these 100% public,” Henrichsen says, as they
offer a “deep dive into the creative processes of the artist”. The
Bergesen Foundation, one of Norway’s largest philanthropic
organisations, gave NKr 22m ($2.8m) towards the project, initially to
digitise the drawings but with further works expected to follow. The
grant has been “crucial”, Henrichsen says, and will also help fund a new
biography of Munch.
A
selection of the drawings will be displayed at the museum’s new venue
which, Henrichsen says, is on track to open next to the Oslo Fjord in
June 2020. There are also plans for a travelling exhibition of
highlights from the collection.
Meanwhile,
the digital catalogue raisonné could also boost the commercial market
for the artist’s work. “Munch’s fame rests disproportionately on the
global familiarity of a single image,” says Philip Hook, the senior
Impressionist and Modern art specialist at Sotheby’s, which sold the
1895 pastel version of The Scream for almost $120m in 2012. “Opening up
access to the less well-known parts of his oeuvre is important for a
fuller understanding of this remarkable artist.”
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