Who painted Self-Portrait on the Glass Veranda?

Self-Portrait on the Glass Veranda was painted by Edvard Munch in 1930.

Where can I see Self-Portrait on the Glass Veranda?

Self-Portrait on the Glass Veranda is held by Munch Museum.

What movement is Self-Portrait on the Glass Veranda?

Self-Portrait on the Glass Veranda is associated with Post-Impressionism.

Can I buy a print of Self-Portrait on the Glass Veranda?

Museum-quality prints of Self-Portrait on the Glass Veranda are available made-to-order from Artifact World Gallery.

Artwork

Self-Portrait on the Glass Veranda

Edvard Munch , 1930

Self-Portrait on the Glass Veranda is an oil painting by the Post-Impressionist artist Edvard Munch. It dates from 1930 and is held in the collection of the Munch Museum. Created in 1930, Self‑Portrait on the Glass Veranda is a painted work executed on a panel of mahogany wood.

About this work

Overview

Created in 1930, Self‑Portrait on the Glass Veranda is a painted work executed on a panel of mahogany wood. The piece presents the artist’s own likeness and is part of the permanent collection of the Munch Museum in Oslo. It exemplifies Munch’s mature period, when he was consolidating his visual language after decades of experimentation.

Subject & Meaning

The composition shows Edvard Munch seated before a glass veranda, a setting that isolates the figure while allowing a view of the surrounding space. By portraying himself in this liminal environment, Munch continues his lifelong investigation of interior emotional states, suggesting a contemplation of self that is both intimate and detached.

Technique & Style

Rendered with oil on a mahogany substrate, the work reflects the post‑Impressionist emphasis on expressive color and brushwork. Munch’s handling of light on the glass surface creates a subtle interplay between interior and exterior, while the textured wood panel contributes a warm tonal foundation that supports the painting’s psychological intensity.

History & Provenance

After its completion, the painting entered the artist’s personal holdings before being transferred to the Munch Museum, where it remains on display. The museum’s acquisition aligns with its mission to preserve the full range of Munch’s output, ensuring public access to this later self‑portrait.

Context

Munch’s formative years at the Royal School of Art and Design in Kristiania, coupled with his association with the radical writer Hans Jæger, informed his preoccupation with existential themes. By 1930, these influences had matured into a nuanced visual language that merged personal biography with broader philosophical concerns, a synthesis evident in this self‑portrait.