Tag Archives: Edvard Munch

shoot # 57



Between Two Clocks And The Bed – Photo Collage 2011 – Click on the image for info

Lund, November 6, 2016
Click on images for info, links or prices 


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• On Edvard Munch, Jasper Johns and crosshatching
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Jan Oberg – Oberg PhotoGraphics – Click

Dear photo-and-other-art friend!

Welcome to shoot # 57
The photo above is a digital gift – a moment of joy or reflection – to you from Oberg PhotoGraphics.

A special welcome to many new subscribers and social media and other friends – here is the preceding shoot. 

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Edvard Munch and Jasper Johns
Want to alert you to the fascinating “Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life” exhibition (incl video) to open in a few days at the Virginia Museum of Fine Art (VMFA): 130 works by Munch and Johns and how they connect and how Munch may have inspired Johns. Curated by John B. Ravenal.

There is a new blog post here on the Munch-Johns connection with reference to two works in which I connected them in 2011, one of which is shown on the top.

Little did I know that five years later Continue reading

Munch and Johns and crosshatching

“Take an object
Do something to it
Do something else to it”

– Jasper Johns

 In 2011 I made two photo collage works (see below) dealing with the similarities between the Norwegian Edvard Munch and American Jasper Johns – both outstanding painters and printmakers, both interested in psychological explorations and one associated with European/German expressionism, the other with American abstract expressionism.

I was inspired, of course, by their crosshatching or, rather, John’s use of crosshatching. It was only a short time back that I had visited the Munch Museum in Oslo.

While I have never particularly liked The Scream in any of its versions or his – too many – many self portraits, I was struck by the Self Portrait. Between the Clock and the Bed painted between 1940 and 1943:



Edvard Munch, Self-Portrait: Between the Clock and the Bed 1940–3 © Munch Museum/Munch-Ellingsen Group/DACS 2012


And I was fascinated by the crosshatch pattern on the bedspread and Johns’ somewhat similar crosshatching as a connector between the two.

It belongs to the story that I own a few prints by Johns, among them the 1977 Untitled from ULAE – United Limited Art Editions created by legendary Russian American Tatyana Grosman:



Jasper Johns “Untitled” 1977 – Photo from ULAE’s homepage


This is a very typical Johns print from those years: the Savarin instant coffee metal can with paint brushes on a wooden table, the crosshatch pattern in light and dark versions, the image divided in three parts and some enigmatic stuff in the middle – brush dots and fingerprints. (Johns has always been enigmatic, a bit like Bob Dylan*). And it’s printed on a thick rough-surfaced J. Green paper with amazing saturation and depth.

I’ve been looking at it almost every day since 1977.


Little did I know…

Little did I know at the time that 5 years later Continue reading

Warhol auction hysteria and collector vanity

This is the art world gone mad and this is a comment with just a little irony!

Up to USD 227 000 for a work not even signed by Warhol – and no edition size mentioned!

In addition it is an utterly simplifying, uninventive, reductionist and boring piece. What’s was your point, Andy?

“The Scream” was far from one of Munch’s best works and here is a fast kind of “copy” adding nothing of value – more or less turning it into a Warhol-style piece: Andy Munch aka Edward Warhol. There you go.


SCREAM (AFTER MUNCH) – Photo from Sotheby’s catalogue on the link.

Wherever Andy is, he must be laughing at how easy it is to fool people who don’t know better. The disease may well be called collector vanity. Whatever we call it, fact is that the emperor is stark naked.

If you permit me – my “after Munch” is much better! How much will you pay when I tell you that it is signed by me, in a limited and numbered edition, roughtly the same size, printed on Canson fine art paper and you get a authentication document with it!

My price is US $ 600 (unframed like Warhol’s).

On a more serious note…


© Jan Oberg 2012

…who can do what to save the art “market” from its own worst enemies? The enemy here is not Warhol but the dealers, collectors, reproducers, auction houses, investors (with no interest as such in art), the consultants who tell art ignorants where they should gamble to make a profit and…the perverse times we live in when there is no longer a necessary connection between quality/work effort and price, where everything is a commodity and the rest is hype and marketing…