The story of Edvard Munch and his connection to the Freia chocolate factory is a fascinating glimpse into the complex relationship between art, industry, and social dynamics. It's a tale that raises intriguing questions about the intentions behind public art and the power dynamics at play.
The Dance of the Frieze
As you step into the presence of Edvard Munch's Freia frieze, you might feel like you're witnessing a graceful ballet. The vibrant blues and greens of the paintings depict a harmonious world where fruit pickers move with poise, and couples stroll arm-in-arm along the beach. It's a captivating scene, but as you delve deeper, a sense of unease creeps in.
The Noble Facade of Public Art
Public art often carries an air of nobility, a belief that it enriches the lives of everyday people. In this case, the creator of the iconic 'The Scream' was also the artist behind these factory wall decorations. But was it truly about enhancing the lives of the 'chocolate girls' who worked there? Or was it a different agenda altogether?
A Darker Underbelly
Curator Ana María Bresciani sheds light on the darker side of this story. The years Munch worked on the frieze were tumultuous, especially post-World War I. Through this exhibition, titled 'Edvard Munch and the Chocolate Factory', Bresciani reveals the frieze's connection to workers' rights and the fight for gender equality. It also delves into the violent and racist history of Freia's cacao sourcing and marketing practices.
A First for the Frieze
The Freia frieze has had a relatively secluded existence, only being displayed outside the factory in Norway a handful of times. This exhibition marks the first time it's been on loan to the Munch Museum, offering a unique opportunity to view these works in a new light.
The Reality of the 'Chocolate Girls'
During the time the frieze was commissioned, Norwegian workers were fighting for better rights, including an eight-hour workday and summer holidays. However, many of the young women working in the factory likely had little experience of the idyllic scenes depicted in the paintings. They may not have had access to summer cottages or swimming, and art was probably a luxury they couldn't afford.
Munch's Education Mission?
Munch seemed unbothered by this disconnect. In fact, he might have viewed it as an educational opportunity. He wrote about the 'chocolate girls' understanding his paintings better and better over time. But this raises the question: was he truly interested in their education, or was it more about his own artistic expression and the potential for fame?
Complaints and Compromises
There were complaints about the absence of doors and chimneys in the paintings, which Munch was asked to rectify. His response? He demanded a chauffeur wait for him outside the factory, and when this didn't happen, he told the factory director to do it himself. This anecdote reveals a sense of entitlement and a lack of consideration for the workers.
The Cost of Art vs. Workers' Wages
The cost of Munch's works was significant, with the chocolate mogul paying him a substantial sum. In contrast, the women workers survived on meager incomes. This disparity was not lost on the public, with a newspaper reporting on the irony of investing large capital in art while keeping workers on starvation wages.
Freia's Progressive Image
Despite the wage disparity, Freia wanted to project an image of a progressive employer. They provided employees with free baths, manicures, modern toilets, uniforms, a factory doctor, and affordable meals. However, the question remains: was this truly progressive, or just a clever PR move?
Munch's Motivation
While Munch's focus on the worker could be seen as a sign of his awareness of changing times, Bresciani believes it was more about personal gain. He sought fame and viewed public commissions as a means to achieve this, leveraging his network of influential friends. He was a strategist, putting on exhibitions, charging for entrance, and selling his work from the early days of his career.
A Lasting Legacy
The Freia frieze is one of only two public works by Munch, the other being the Aula series at the University of Oslo. Despite not being commissioned for the new Oslo city hall, his impact on public art is undeniable. This exhibition offers a unique perspective on Munch's work, challenging us to consider the deeper meanings and implications of art in public spaces.
Final Thoughts
The story of Edvard Munch and the Freia frieze is a thought-provoking journey. It raises questions about the role of art in society, the intentions of artists, and the complex dynamics between industry and workers. It's a reminder that even the most beautiful art can have a bitter undercurrent, and that we must always question and analyze the narratives we're presented with.
