Who painted Woman in a Blue Dress?

Woman in a Blue Dress was painted by Edvard Munch in 1924.

Where can I see Woman in a Blue Dress?

Woman in a Blue Dress is held by Munch Museum.

What movement is Woman in a Blue Dress?

Woman in a Blue Dress is associated with Post-Impressionism.

Artwork

Woman in a Blue Dress

Edvard Munch , 1924

Woman in a Blue Dress is an oil painting by the Post-Impressionist artist Edvard Munch. It dates from 1924 and is held in the collection of the Munch Museum.

About this work

Overview

Created in 1924, *Woman in a Blue Dress* is an oil painting by Norwegian artist Edvard Munch. The work depicts a solitary female figure set against a loosely rendered landscape of greens, yellows and blues. It is part of the collection of the Munch Museum in Oslo, where it remains on display as an example of Munch’s later output.

Subject & Meaning

The canvas presents a blonde woman standing in a field, her arms folded across her chest. She wears a vivid blue dress, dark boots, and a neatly cut bob hairstyle. Her posture and calm facial expression suggest a quiet self‑containment, inviting viewers to contemplate an interior state of repose rather than overt narrative drama.

Technique & Style

Executed in oil, the painting employs broad, gestural brushstrokes that blend color fields of green, yellow and blue, while darker green shapes hint at foliage. The palette and loose handling align with post‑impressionist tendencies, yet the emphasis on emotional resonance reflects Munch’s personal approach of conveying psychological depth through simplified forms and color.

History & Provenance

After its completion, the work entered the holdings of the Munch Museum, the principal institution dedicated to the artist’s legacy. The museum acquired the piece through its ongoing efforts to assemble Munch’s oeuvre, ensuring the painting remains accessible for scholarly study and public viewing.

Context

*Woman in a Blue Dress* belongs to a period when Munch continued to investigate themes of inner experience, building on his earlier concept of “soul painting.” While the composition appears restrained, it reflects the artist’s sustained interest in portraying the subtle tensions between external appearance and internal feeling during the early 1920s.