Andreas Reading

Munch's subject here is his younger brother Peter Andreas Munch (1865--1895). The small work is notable for its realism and meticulous detail. The picture gives the impression of a serious study of the observed situation, with particular attention paid to subtleties of colour. This is evident in the individual articulation of the books on the shelves and in other details, such as the highlights on the sitter's shoes and the legs of the chair. Having previously concentrated on landscape studies from the area around Kristiania, Munch has now turned his attention to interior scenes. Common to both categories is his use of locations and people he knew well. From Munch's younger years, we know of a number of studies and smaller paintings set in the family home that variously feature his father, Aunt Karen, and siblings as models. Figures absorbed in reading are central to many of these works, and prominent among his sitters is the artist's two-year younger brother, who is shown either posing for the portrait or immersed in a book, often close to a window (Woll 2008, M 78; M 79; M 95; M 96; M 127; 134). Andreas Reading is one of Munch's early depictions of a contemplative figure, a popular theme of the period. The picture has much in common with, for example, Harriet Backer's interiors with women engaged in various pursuits.

Jens Thiis was the first to draw attention to Munch's early pictures. He accorded them a prominent place in the National Gallery's exhibition of 1927. "One should certainly not overlook the work Munch produced in his youth, 'in the bosom of the family'," wrote Thiis. For him, Munch's pictures from the various family homes were a key to understanding his art (Thiis 1933, 54).

In January 1882, the Munch family moved from Fossveien 7 to Olaf Ryes plass 4, both in the Grünerløkka district in the eastern part of Kristiania. In his diary, Munch described the new apartment: "A few days ago we moved into our new accommodation, Olaf Ryes plads 4, 3rd floor. We are now comfortable in every respect. The rooms are large and attractive, with dark-painted walls." (dated 28 January 1882, emunch.no: MM.T.2913, p. 88). It was probably here that this work was painted. Gerd Woll relates this painting to aother painting with the same title from the same year (Woll 2008, M 78), which includes a view through the window onto Olaf Ryes plass. Andreas Munch later trained to become a doctor, but died at the age of thirty in 1895. He was the only sibling to have children.

According to Thiis, the work was painted in 1883, a date that is retained in later National Gallery works catalogues (Thiis 1933, 57, 76). However, Woll places it in the context of two other paintings of the artist's brother Andreas (Woll 2008, M 78; M 79), dating it to 1882--83. The painting was bequeathed to the museum by Charlotte and Christian Mustad and entered the collection in 1970. More recently, it has been included in a number of major exhibitions, both in Oslo (2008, 2013) and in New York (2006).

Wenche Volle

The text was first published in Edvard Munch in the National Museum. A comprehensive overview (Oslo: National Museum, 2022).

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