TRACEY EMIN + EDVARD MUNCH

The Loneliness of the Soul at The Royal Academy of Arts

image above: Tracey Emin, Every part of me Kept Loving You, 2018. Acrylic on canvas, 205.7 x 279.5 cm. Private collection, UK © Tracey Emin. All rights reserved, DACS 2020; cover story image: Edvard Munch, Seated Female Nude, 1923–1933. Watercolour, 34.9 x 26 cm. Munchmuseet

BY: Ines Valencia

Recently we have been seeing an increasing number of exhibitions that pair the works of artists from entirely different eras and styles that we would never have thought of compared to one another. The Royal Academy in London has made one of the most exciting pairings yet by showcasing the works of Tracey Emin and Edvard Munch in concert with one another in a show titled The Loneliness of the Soul.

Tracey Emin is an English artist and an important figure in contemporary art. Edvard Munch was a Norwegian expressionist painter and printmaker, best known for his iconic painting The Scream (1893), a work that has regained popularity for being particularly emblematic of the current state for many of us of the world. This exhibition is the first time their art is examined together, as both artists weren’t alive at the same time. The show features around 26 works by Emin and 18 paintings by Munch, carefully selected from the collection of MUNCH in Oslo, Norway. The works by Emin include neons, sculptures, and paintings, some of which are being shown publicly for the first time.  

Edvard Munch (1863-1944) is one of the biggest names in art history and was one of the most influential figures of early 20th century German Expressionism. His portrayals of emotion from his own experiences through good use of color and different painting styles are why he remains a significant influence on artists today. Tracey Emin was born in 1963 in Croydon, England. She works with paintings, drawing, sculpture, film, and neons, and she is known for her extraordinarily emotional and autobiographical work. She was inspired mainly by Munch in her formative years, which is reflected in her work’s emotional intensity throughout her entire career. As stated in the exhibition’s press release, she shares Munch’s “concerns in exploring the complex human condition and tortured psyche echoing many of her own burgeoning tendencies.” In the exhibition, “Emin has focused on a group of Munch’s works which explore his complex relationship with the female gender. Early tragic events including the death of his mother when he was only five years old, followed a few years later by his beloved sister, and then a series of doomed love affairs, all contributed to this uneasy connection. The works on display highlight his fascination with the depiction of women, their emotional states and the process of aging.” For example, one of Munch’s works on display, The Death of Marat (1907), demonstrates his emotional state after an excruciating breakup.

The exhibition, which focuses on themes of grief, loss, and longing, does a brilliant job of showing how Emin portrays intimacy and emotion in ways that are analogous to Munch’s approach. In an interview with Sotheby’s in March 2021, Emin expressed that she felt that she and Munch were misunderstood and mocked early on and are now more accepted and appreciated. Both artists portray themselves in their work, whether it is by creating a self-portrait or by simply using colors and brushstrokes that imply how they are feeling. Emin expresses that the most important thing we need in art is transmitting emotion to the viewer.

The Loneliness of the Soul is on view at The Royal Academy of Arts, in London, from May 18 through August 1, 2021.

Edvard Munch, The Death of Marat, 1907. Oil on canvas, 153 x 149 cm. Munchmuseet
Edvard Munch, The Death of Marat, 1907. Oil on canvas, 153 x 149 cm. Munchmuseet
Tracey Emin, It - didnt stop - I didnt stop, 2019. Acrylic on canvas, 152 x 183.5 x 3.7 cm. Xavier Hufkens © Tracey Emin. All rights reserved, DACS 2020
Tracey Emin, It – didnt stop – I didnt stop, 2019. Acrylic on canvas, 152 x 183.5 x 3.7 cm. Xavier Hufkens © Tracey Emin. All rights reserved, DACS 2020
Edvard Munch, Crouching Nude, 1917-1919. Oil on canvas, 70 x 90 cm. Munchmuseet
Edvard Munch, Crouching Nude, 1917-1919. Oil on canvas, 70 x 90 cm. Munchmuseet
Tracey Emin, More Solitude, 2014. Neon, Edition 2/10, 30.6 x 115 cm. Collection of Michelle Kennedy and Richard Tyler © Tracey Emin. All rights reserved, DACS 2020
Tracey Emin, More Solitude, 2014. Neon, Edition 2/10, 30.6 x 115 cm. Collection of Michelle Kennedy and Richard Tyler © Tracey Emin. All rights reserved, DACS 2020
Tracey Emin, I am The Last of my Kind, 2019. Acrylic on canvas, 182 x 120 cm. Courtesy: Galleria Lorcan O'Neill © Tracey Emin. All rights reserved, DACS 2020
Tracey Emin, I am The Last of my Kind, 2019. Acrylic on canvas, 182 x 120 cm. Courtesy: Galleria Lorcan O’Neill © Tracey Emin. All rights reserved, DACS 2020
Edvard Munch, Female Nude, 1919–1924. Watercolour, 95.2 x 60 cm. Munchmuseet
Edvard Munch, Female Nude, 1919–1924. Watercolour, 95.2 x 60 cm. Munchmuseet
Tracey Emin, Because you left, 2016. Acrylic on canvas, 25.2 x 30.3 cm. Private collection © Tracey Emin. All rights reserved, DACS 2020
Tracey Emin, Because you left, 2016. Acrylic on canvas, 25.2 x 30.3 cm. Private collection © Tracey Emin. All rights reserved, DACS 2020