Edvard Munch, The Artists's Retina: Optical Illusion from the Eye Disease, 1930, watercolour and pencil on paper, 49.7 x 47.1 cm, Munch Museum/Munch-Ellingsend Group/DACS 2012. Courtesy Munch Museum, Oslo
Butler writes that the show "focus[es] on the neglected aspects of [Munch's] often radical work, particularly his use of film and photography..." She also calls attention to a fascinating group of paintings and drawings Munch made after "he suffered a serious intraocular hemorrhage in his right eye, and, later, another one in his left. The condition left a blind spot, splotches and blood clots that impacted both his vision and his painting. He documented the effects in watercolors and drawings, but the visual impairment affected his other work as well."
Ruthven writes: "Rather than a study of modernity in Munch per se, the exhibition presents the relationship between Munch's art and technology. Technology in the wider sense of the term, his own body- the hand shot by his lover, his deteriorating eyesight – and also the technology of external tools – the cinemas Munch frequented and the photographs he took..."
De Jong writes that the show is "Based around a traveling exhibition from 1912 that highlighted Scandinavian artists, the show acts today as a chapter in nationalist artistic progression, including countries such as Iceland, once considered long off the artistic map. Many of the painters, including Thorvald Erichsen, Harold Sohlberg and Pekka Halonen, are little known outside of the origin countries, while some, such as the Danish artist Vilhelm Hammershoi and Norwegian Edvard Munch, have had international reputations for generations."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.