Edvard Munch (1863–1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. His printmaking was experimental and innovative, and he continually revisited the subjects of his paintings in striking prints, in which he evoked a wide range of emotion and mood through the use of varied techniques.

Munch’s early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister when he was growing up, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Encouraged by his encounters with a Bohemian society of artists, writers and poets, he developed a visual landscape that was a radical deviation from the slick society portraits and grand Scandinavian landscapes then so much in vogue. His efforts attracted considerable attention and much criticism, and he practised with little financial success as a painter for ten years before he started to gain his reputation as a profoundly innovative printmaker.

Written by a team of acknowledged experts, and with an interview by writer Karl Ove Knausgaard, this book will shed new light on the production of some of Munch’s most remarkable works.

爱德华•蒙克（1863-1944）如今最广为人知的身份是油画家，但事实上他的名声建立于版画之上。在他创作的道路上，版画一直处于中心。他的版画试验性和创新性兼备。在创作版画时，他总会一再审视画作的主题，利用各种不同的技巧，在主题中唤醒广泛的感情和情绪。

蒙克早年生活在克里斯蒂安尼亚（1925年更名奥斯陆）的工业镇，身体羸弱，经济穷困。他的处女作集中表达深层次情感经历，特别是成长过程中母亲的逝世和姐姐十几岁时早逝，以及他全身心投入爱情，却遭到笃信宗教的父亲反对的不幸经历。受到波西米亚艺术家、作家和诗人协会的鼓舞，他发展了视觉风景画，与当时华而不实的社会肖像和宏大的北欧风景画大相径庭。他的付出吸引了大量关注和批评。他当画家的十年经济收益甚微，而后开始收获思想深刻，具有创新精神的版画家名声，。

本书由**专家组撰稿，包含作家卡尔•奥韦•克瑙斯高所撰采访稿，将对有关蒙克最为**的部分作品的创作提出新观点。