Who painted Death and Spring?

Death and Spring was painted by Edvard Munch in 1897.

Where can I see Death and Spring?

Death and Spring is held by Munch Museum.

What movement is Death and Spring?

Death and Spring is associated with Post-Impressionism.

Artwork

Death and Spring

Edvard Munch , 1897

Death and Spring is an oil painting by the Post-Impressionist artist Edvard Munch. It dates from 1897 and is held in the collection of the Munch Museum.

About this work

Overview

Created in 1897, *Death and Spring* is an oil painting by Norwegian artist Edvard Munch. The work belongs to the period when Munch was investigating personal anxieties and emotional states, employing a visual language that moves beyond naturalistic representation. The canvas is part of the permanent holdings of the Munch Museum, where it is displayed among other works from the same era.

Subject & Meaning

The composition centers on a reclining woman draped in a blanket, her face turned away and eyes shut, suggesting a moment of quiet resignation. The surrounding interior, with a muted window opening onto a verdant lawn, juxtaposes the interior stillness with the vitality of the outside world, evoking themes of mortality, renewal, and the fragile boundary between life and death.

Technique & Style

This approach aligns with post‑impressionist tendencies, where color and light serve to express inner experience rather than external reality.

Munch employs a subdued palette and pronounced chiaroscuro, allowing light from the window to illuminate the figure’s pale skin while deeper shadows recede into the background. The brushwork is loose yet purposeful, conveying emotional tension rather than precise detail. This approach aligns with post‑impressionist tendencies, where color and light serve to express inner experience rather than external reality.

History & Provenance

The painting entered the collection of the Munch Museum shortly after its establishment, reflecting the institution’s mission to preserve the artist’s legacy. Its acquisition helped to fill a gap in the museum’s representation of Munch’s late‑19th‑century output, providing scholars and visitors with insight into a pivotal phase of his artistic development.