Jonieke van Es about Edvard Munch’s girls near an apple tree

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Biography
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Biography

The Collection Online also contains biographic information about Munch.
Position of the work in the oeuvre
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01:20

Position of the work in the oeuvre

‘Two girls near an apple tree’ is one of a group of works that were created in the years 1902-1905. These paintings show young women and girls, against a house and a garden in Aasgaardstrand, a fishing village on the Oslo Fjord. Munch bought a house there in 1898 where he would spend the summers. Who the girls are is not known. Munch chose his models from the local people. Unlike his earlier works, this group immediately became very popular. It resulted in Edvard Munch receiving assignments from German private individuals for portraits of their children. These assignments brought in money; this helped reduce Munch’s financial worries.
Restoration
113
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Restoration

The painting was restored in 1988. The attachment of the paint to the linen surface was bad, which meant that the paint was peeling off in various places. After various tests it was decided to impregnate the linen with a special substance that binds the loose paint to it, so that the attachment to the canvas is improved. The edge of the canvas was also doubled for reinforcement and the canvas was stretched on a new canvas stretcher. The painting was varnished, but the varnish was not original (Munch seldom varnished his paintings) but had been applied during a previous treatment. It is known that Munch sometimes placed his paintings outside to expose them to wind, sun, rain and snow. There are, however, no indications that he also did that with this work.

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Jonieke van Es about Edvard Munch’s girls near an apple tree

Jonieke van Es, head of the Collection and Research Sector, talks about her fascination with the painting ‘Two girls near an apple tree’ by the Norwegian artist Edvard Munch that was acquired in 1957 for the collection of Museum Boijmans Van Beuningen by director J.C. Ebbinge Wubben. The acquisition can be called spectacular, because works by Munch at that time hardly ever came onto the market. The acquisition could take place thanks to the mediation of Johan H. Langaard, at the time director of the Oslose Kommunes Kunstsammlinger (since 1963 incorporated in the Munch Museum), which administered the majority of Munch’s work.