Museum Folkwang Collection Online
To mennesker. De ensomme (Reinhardt-frisen)
  • Edvard Munch

  • To mennesker. De ensomme (Reinhardt-frisen), 1906/07

  • Two Human Beings. The Lonely Ones (The Reinhardt Frieze)
  • Oil on canvas
  • 89,5 x 159,5 cm
  • Acquired in 1968 with the support of the Eugen-und-Agnes-von-Waldthausen-Platzhoff-Museums-Stifung and the Folkwang-Museumsverein
  • Inv. G 358
  • CommentaryEdvard Munch’s work has as theme the jeopardy of human existence between birth and death, love and loneliness. With his direct, psychologically charged pictorial language, he became a pioneer of modern painting and considerably influenced German Expressionism.
    Munch used above all lines to re-order pictorial space in reducing contours of motifs to simple forms of almost magical intensity.
    Apart from figures, Munch also painted landscape throughout his life. Especially impressive are his views of the area around Nordstrand, south of Oslo, made around 1900. Humans appear only rarely in these paintings. Here and there, outlines of trees seem to suggest human forms or dark spots in the white of the snow recall eye sockets. The paintings thus seem full of human life, without destroying their landscape form: A suggestive depiction of the landscape transforms it into a reflection of the feelings viewers have about nature.
  • Provenance1907–1912: Deutsches Theater, Kammerspiele, Berlin | 1912–[...]: Kunsthandel Fritz Gurlitt, Berlin | 1914–[...]: Kunstsalon Cassirer, Berlin | [...]–03.1930: Curt Glaser (1879–1943), Berlin | 03.1930–30.10.1937: Nationalgalerie, Berlin | 30.10.1937: Beschlagnahme im Rahmen der Aktion "Entartete Kunst", Reichsministerium für Volksaufklärung und Propaganda, Berlin | 30.10.1937–01.1939: Deutsches Reich/Reichsministerium für Volksaufklärung und Propaganda, Berlin | 01.1939–[...]: Marc Sandeler/Sandler (1907–1968), Stockholm/New York | [...]–[...]: Margot Sandler-Kayser (Lebensdaten unbekannt), New York | [...]–[...], nachweislich 1965: Hammerlunds Kunsthandel, Oslo | [...]–01.1968: Galerie Ernst Beyeler, Basel | seit 01.1968: Museum Folkwang, Essen

    Provenienz unbelastet

    Die Untersuchung erfolgte im Rahmen des vom Deutschen Zentrum Kulturgutverluste geförderten Projekts zur Bestandsprüfung (01.10.2019–30.09.2020).
  • Obj_Id: 3,164
  • Obj_Internet_S: ja
  • Obj_Ownership_S (Verantw):Painting, Sculpture, Media Art
  • Obj_SpareNField01_N (Verantw):
  • Obj_Creditline_S: Gemäldesammlung
  • Obj_Title1_S: To mennesker. De ensomme (Reinhardt-frisen)
  • Obj_Title2_S: Two Human Beings. The Lonely Ones (The Reinhardt Frieze)
  • Obj_PartDescription_S (Titelerg):
  • Obj_SpareMField01_M (Alle Titel): To mennesker. De ensomme (Reinhardt-frisen) Two Human Beings. The Lonely Ones (The Reinhardt Frieze)
  • Obj_Dating_S: 1906/07
  • Jahr von: 1,906
  • Jahr bis: 1,907
  • Obj_IdentNr_S: G 358
  • Obj_IdentNrSort_S: G 0358
  • Obj_Classification_S (Objtyp): Painting
  • Obj_Crate_S: 89,5 x 159,5 cm
  • Obj_Material_S: Oil on canvas
  • Obj_Technique_S:
  • Obj_SpareSField01_S (Mat./Tech.): Oil on canvas
  • Obj_AccNote_S (Erwerb): Acquired in 1968 with the support of the Eugen-und-Agnes-von-Waldthausen-Platzhoff-Museums-Stifung and the Folkwang-Museumsverein
  • Obj_PermanentLocation_S (Standort):
  • Obj_Condition1_S (Druckerei):
  • Obj_Condition2_S (Auflage):
  • Obj_Subtype_S (Genre):
  • Obj_Rights_S:
Commentary
Artists
Provenance

Edvard Munch’s work has as theme the jeopardy of human existence between birth and death, love and loneliness. With his direct, psychologically charged pictorial language, he became a pioneer of modern painting and considerably influenced German Expressionism.
Munch used above all lines to re-order pictorial space in reducing contours of motifs to simple forms of almost magical intensity.
Apart from figures, Munch also painted landscape throughout his life. Especially impressive are his views of the area around Nordstrand, south of Oslo, made around 1900. Humans appear only rarely in these paintings. Here and there, outlines of trees seem to suggest human forms or dark spots in the white of the snow recall eye sockets. The paintings thus seem full of human life, without destroying their landscape form: A suggestive depiction of the landscape transforms it into a reflection of the feelings viewers have about nature.