Who painted History: Figure Study?

History: Figure Study was painted by Edvard Munch in 1910.

Where can I see History: Figure Study?

History: Figure Study is held by Munch Museum.

What movement is History: Figure Study?

History: Figure Study is associated with Post-Impressionism.

Artwork

History: Figure Study

Edvard Munch , 1910

History: Figure Study is a charcoal painting by the Post-Impressionist artist Edvard Munch. It dates from 1910 and is held in the collection of the Munch Museum.

About this work

Overview

Created in 1910, *History: Figure Study* is a charcoal work by Norwegian artist Edvard Munch. The piece presents a solitary figure rendered with bold, unrefined lines against a plain, off‑white background. Its simplicity emphasizes gesture over detail, allowing the viewer to focus on the basic human form.

Subject & Meaning

The drawing depicts a single, likely male, figure in a straightforward pose. Munch reduces the body to essential shapes, suggesting an interest in the underlying psychological presence rather than external attributes. The starkness of the composition invites contemplation of the figure’s inner state, a recurring preoccupation in Munch’s oeuvre.

Technique & Style

Executed entirely in charcoal, the work employs vigorous strokes and minimal shading, producing a textured, almost raw surface. The loose, expressive handling aligns with post‑impressionist tendencies toward emotional immediacy, while the lack of background detail reinforces the focus on line and form.

History & Provenance

The drawing is part of the collection of the Munch Museum in Oslo, where it resides among other works by the artist. Its creation date places it within a prolific period for Munch, following his formal training at the Royal School of Art and Design and his involvement with contemporary radical circles.

Context

*History: Figure Study* emerges from a phase when Munch was exploring the human figure as a vehicle for expressing anxiety, loss, and existential concerns. The work reflects his broader engagement with themes of mortality and emotional turbulence that characterize much of his early twentieth‑century output.