人物生平
早年經歷
愛德華·蒙克沉思1863年12月12日，愛德華·蒙克出生於挪威雷登在奧斯陸長大。愛德華·蒙克的父親患有精神病，他向他的孩子們灌輸了對地獄的根深蒂固的恐懼，他一再告訴他們, 如果他們在任何情況下、以任何方式犯有罪孽，他們就會注定被投入地獄，沒有任何寬恕的機會。1879年 ，愛德華·蒙克為成為一名工程師而進工學院念書受印象主義畫風的影響，然而，頻繁的患病中斷了他的學業。
1880年，愛德華·蒙克為了成為一名畫家而離開工學院。
1881年，愛德華·蒙克考進了奧斯陸皇家藝術和設計學院，他的老師是雕刻家朱利厄斯·米德爾頓和自然主義畫家克里斯蒂安·克羅格。
1885年，愛德華·蒙克前往巴黎。他的作品開始顯示出法國畫家的影響；一開始是印象派，接著是後期印象派，然後是新藝術造型。愛德華·蒙克的繪畫儘管風格上是後期印象派的，但在主題上卻是象徵派的，愛德華·蒙克的繪畫內容在於刻畫內心世界而不是外在現實。
中年經歷
1889年改用傳統的畫法創作《病孩》變體畫《春》，從而獲得獎學金去法國留學，從師L.博納。在法國，他在研究印象主義畫法的基礎上，轉而對後印象主義和納比派發生興趣。他發現線條和色彩有強烈的表現力，試圖用它們畫出活生生的人們，他們的呼吸、感覺、受苦受難並彼此的相愛。
1892年 愛德華·蒙克應邀參加柏林藝術家聯盟在11月份舉行的畫展。愛德華·蒙克的繪畫成了苦澀的爭論對象，畫展在一星期後結束。在柏林，愛德華·蒙克成了一個國際圈子裡的一員，裡面有作家、藝術家和評論家，包括挪威劇作家亨利·易卜生和瑞典戲劇家奧古斯特·史特林堡。愛德華·蒙克為易卜生的幾個劇本設計了布景。
1893年1893年12月，愛德華·蒙克在柏林著名的菩提樹下大街開畫展。和其它作品一起，愛德華·蒙克出展了題為“愛的研究系列”，由六幅畫所組成。這是他此後命名為“生命的飾帶 以 生命、愛情和死亡的詩”組畫的起點。它包括深深地沉浸於大氣的主題《風暴》、《月光》和《星夜》。其它主題有揭示愛的陰暗面的，比如《玫瑰與阿美莉》和《吸血鬼》。《病室里的死亡》則以死亡為主題，基於愛德華·蒙克對姐姐蘇菲之死的回憶。
1894年，“生命的飾帶”加進了《焦躁》、《灰燼》、《聖母》和《女人三階段》作品集。在世紀之交之際，愛德華·蒙克完成了他的“生命的飾帶”組畫系列。
晚年經歷
1908年秋，他的焦慮變得深刻並在丹尼爾·賈可布遜博士的診所住院接受治療。醫院裡施行的休克療法改變了他的個性。
1909年愛德華·蒙克回到挪威，更多地表現出對大自然的興趣，他的作品變得更富於色彩，減少了悲觀的成分。在納粹統治期間，愛德華·蒙克的作品被貼上了“頹廢藝術”的標籤，從德國的各個美術館撤了下來。反納粹主義的愛德華·蒙克來說是很傷心的，因為他把德國看作為他的第二祖國。
1944年1月23日，愛德華·蒙克於奧斯陸附近的艾可利與世長辭。他向奧斯陸捐贈了1000幅油畫，15400張版畫，4500件素描和水彩畫，還有6件雕刻作品。後來為紀念愛德華·蒙克，建造了愛德華·蒙克美術館。
人物生活
愛德華·愛德華·蒙克是畫家雅各布·愛德華·蒙克和歷史學家彼得·安德烈·愛德華·蒙克的親戚。母親蘿拉在1868年死於肺結核，母親死後小愛德華·蒙克由父親克里斯蒂安·愛德華·蒙克單獨撫養。父親是位醫生，篤信基督教。幼年喪母，姐姐被肺病奪去生命，妹妹患精神病，童年時代的不幸對其一生的創作有深刻的影響。
人物影響
歷史發展
在當時哲學和美學思潮影響下，他努力發掘人類心靈中的各種狀況，表現疾病、死亡、絕望、情愛等主題。因此，他的創作有“心靈的現實主義”的稱號。由於受到保守勢力的攻擊，很快被封閉，但對德國青年畫家以很大的刺激，推動了表現主義運動的產生。
思想傳播
愛德華·蒙克通過主題來表現他切身經歷的對生存和死亡的感受。每一幅畫都無與倫比地強烈地傳達著畫家的感覺和情緒，被描繪的具體對象的細節被簡化，而情緒則被誇張，對象本身成為一種所要表現的情緒的載體，雖然它們依然還是具象的。這些畫具有永恆的震懾心靈的力量。在這一切的背後，我們還可以看見那個“世紀末”的景象，那種迷途的欲望深淵和無法逃脫的死亡陰影的怪圈，生命的焦躁和無奈交織在一起。愛德華·蒙克作品的驚人表現力量來自於對藝術家內心世界的不加掩飾的忠實表達，愛德華·蒙克的畫是用整個心靈來創作的。
主要作品
| 作品名 | 年份 |
| Øvre Foss | 1880 |
| Small Lake with Boat | 1880 |
| Horse and Wagon in front of Farm Buildings | 1880 |
| Autumn Work in the Field | 1880 |
| Landscape with Woman Walking by a Lake | 1880 |
| Landscape with Trees and Water | 1880 |
| Autumn in the Forest | 1880 |
| Horse and Cart on a Country Road | 1880 |
| Still Life with Pipe and Bibles | 1880 |
| View from Fossveien | 1880-81 |
| View from Fossveien | 1881 |
| Winter Landscape with House and Red Sky | 1881 |
| Potted Plant on the Window-Sill | 1881-82 |
| Potted Plant | 1881-82 |
| The Living-Room of the Misses Munch in Pilestredet 61 | 1881 |
| From Vestre Aker | 1881 |
| Hakloa in Maridalen | 1881 |
| Maridalsveien in Nydalen | 1881 |
| Houses in Maridalen | 1881 |
| From Maridalen | 1881 |
| Akerselva | 1881 |
| Landscape with Woman and Child | 1881 |
| Landscape with a Small House and Two People | 1881 |
| Landscape with Lake and Forest | 1881 |
| From Bunnefjorden | 1881 |
| From Sandvika | 1881 |
| Man Rowing towards Land | 1881 |
| Bay with Boat and House | 1881 |
| Man and Woman in Boat | 1881 |
| Fisherman by the Water | 1881 |
| Christian Munch on the Couch | 1881 |
| Christian Munch on the Couch | 1881 |
| Study of a Landscape | 1881 |
| View of Grüner's Garden | 1881 |
| Gamle Aker Church | 1881-82 |
| Gamle Aker Church | 1881 |
| Gamle Aker Church | 1881 |
| Gamle Aker Church | 1881 |
| View from Fossveien 7 towards Bergfjerdingen | 1881 |
| People on the Road in Wet Snow | 1881 |
| Goblin with Christmas Porridge | 1881 |
| Still Life with Jar, Apple, Walnut and Coconut | 1881 |
| Øvre Foss in Winter | 1881-82 |
| Boy in Snow | 1881-82 |
| View of the City on a Winter's Day | 1882 |
| Self-Portrait | 1882 |
| Laura Munch | 1882 |
| Laura Munch | 1882 |
| Olaf Rye's Square towards South East | 1882 |
| View across Olaf Rye's Square | 1882 |
| Olaf Rye's Square towards South East | 1882 |
| Landscape with Waterfall and House | 1882 |
| Evening Atmosphere at Sea | 1882 |
| Landscape with a Small Waterfall | 1882 |
| Spring Landscape | 1882 |
| Stream in Spring | 1882 |
| Karen Bjølstad | 1882-83 |
| Man's Head with Beard | 1882-83 |
| The Errand Boy | 1882-84 |
| Garden with Red House | 1882 |
| Garden with Red House | 1882 |
| By the Garden Table | 1882 |
| Akerselva by Slåmotgangen | 1882 |
| Inger by the Window | 1882 |
| Akerselva by Nedre Foss | 1882 |
| Akerselva | 1882 |
| Birch Trees with Woman Walking | 1882 |
| Birch Trees in the Autumn | 1882 |
| From Vestre Aker | 1882 |
| Birch Trees and Man Carrying Twigs | 1882 |
| Autumn in Vestre Aker | 1882 |
| Woman on a Country Lane | 1882 |
| Two Boys on a Country Lane | 1882 |
| Thorvald Torgersen | 1882 |
| Thorvald Torgersen | 1882 |
| Head of a Boy | 1882 |
| Andreas Reading | 1882 |
| Andreas Reading | 1882 |
| Andreas Reading | 1882 |
| Self-Portrait | 1882 |
| Drive at Vaterland | 1882 |
| From Saxegårdsgate | 1882 |
| Laura Munch | 1883 |
| Otto Linthoe | 1883 |
| Study of a Man's Head | 1883 |
| Study of an Old Man's Head | 1883 |
| Head of an Old Man with Beard | 1883 |
| Study of an Old Man's Head | 1883 |
| Afternoon at Olaf Rye's Square | 1883 |
| Street Corner on Karl Johan, Grand Café | 1883 |
| Christian Munch on the Couch | 1883 |
| Landscape from Asker | 1883 |
| Autumn in Asker | 1883 |
| Andreas by the Window | 1883 |
| Andreas Reading | 1883 |
| The Dome of Trinity Church | 1883 |
| Study of a Head | 1883 |
| Early in the Morning | 1883 |
| Andreas Singdahlsen | 1883 |
| Hjalmar Borgstrøm | 1883 |
| Portrait of a Woman | 1883 |
| Karen Bjølstad in the Rocking Chair | 1883 |
| Around the Paraffin Lamp | 1883 |
| At the Coffee Table | 1883 |
| At Supper | 1883 |
| The Infirmary at Helgelandsmoen | 1884 |
| Fence in the Forest | 1884 |
| Two People on the Way to the Forest | 1884 |
| Morning | 1884 |
| Christian Munch | 1884 |
| Portrait Studies | 1884 |
| Inger Munch in Black | 1884 |
| Street in Winter | 1885 |
| Ball | 1885 |
| Tête-à-tête | 1885 |
| Karl Johan | 1885 |
| Girl's Head | 1885 |
| Dagny Konow | 1885 |
| Study of an Old Man's Head | 1885 |
| Fredrik Lidemark | 1885 |
| Karl Jensen-Hjell | 1885 |
| Klemens Stang | 1885 |
| Christian Munch with Pipe | 1885 |
| Karen Bjølstad | 1885 |
| Jørgen Sørensen | 1885 |
| Andreas Munch | 1885 |
| Cabaret | 1885 |
| The Sickroom | 1885 |
| The Sick Child | 1885 |
| Red-Haired Girl with White Rat | 1886 |
| Girl at the Piano | 1886 |
| Self-Portrait | 1886 |
| Andreas Munch Studying Anatomy | 1886 |
| Afternoon Nap | 1886 |
| Boat with Three Boys | 1886 |
| Man on the Veranda | 1886 |
| From Hisøya near Arendal | 1886 |
| Woman and Children in Arendal | 1886 |
| Thorvald Torgersen | 1886 |
| Puberty | 1886 |
| The Day After | 1886 |
| Seated Young Girl | 1887 |
| Betzy Nilsen | 1887 |
| Halvard Stub Holmboe | 1887 |
| Jacob Torkildsen | 1887 |
| Forest Landscape with Small Lake | 1887 |
| Veierland near Tønsberg | 1887 |
| Two Men by the Window | 1887 |
| Law | 1887 |
| Kristiania Bohemians | 1887 |
| Self-Portrait | 1888 |
| Marius Selmer | 1888 |
| Bendix Lange | 1888 |
| Beach | 1888 |
| The Tønsberg Fjord | 1888 |
| On the Pier | 1888 |
| Man Binding Fishnet | 1888 |
| Karen Bjølstad | 1888 |
| Evening | 1888 |
| Summer Day on the Pier | 1888 |
| Laura and Inger in the Summer Sun | 1888 |
| Evening | 1888 |
| Inger in Sunshine | 1888 |
| At the General Store in Vrengen | 1888 |
| Andreas Bjølstad | 1888 |
| Aasta Carlsen | 1888 |
| Man Standing in the Doorway | 1889 |
| Karl Dørnberger | 1889 |
| Charlotte Dørnberger | 1889 |
| Georg Stang | 1889 |
| John Hazeland on his Deathbed | 1889 |
| Spring | 1889 |
| Hans Jæger | 1889 |
| From Karl Johan | 1889 |
| Music on Karl Johan | 1889 |
| Beach Landscape fromÅsgårdstrand | 1889 |
| Beach | 1889 |
| From Åsgårdstrand | 1889 |
| Beach Landscape | 1889 |
| Shore | 1889 |
| Summer Night. Inger on the Beach | 1889 |
| Summer Evening | 1889 |
| Summer | 1889 |
| Summer in Åsgårdstrand | 1889 |
| Morten Damme's House near Åsgardstrand | 1889 |
| Standing Female Nude | 1889 |
| A French Tavern (Two Men and a Woman) | 1890 |
| The Canal near Paris (with a Small Streamboat) | 1890 |
| A Woman (in Half-figure) with Landscape (Returned from Victoria terrasse) | 1890 |
| A Small Beach Study | 1890 |
| Night in Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| The Seine at Saint-Cloud | 1890 |
| At the Wine Merchant's | 1890 |
| In the Bar | 1890 |
| In the Café | 1890 |
| Norwegian Spring Landscape | 1890 |
| Landscape | 1890 |
| The Streamboat Arrives | 1890 |
| Beach | 1890 |
| Spring Day on Karl Johan | 1890 |
| Sunny Day in Åsgårdstrand | 1890 |
| Garden Path | 1890 |
| Woman in Evening Landscape | 1890 |
| Landscape | 1890 |
| View from Hauketo | 1890 |
| View from Hauketo | 1890 |
| Landscape | 1890 |
| The Absinth Drinkers | 1890 |
| Two Children | 1890 |
| Under the Palm Trees in Nice | 1891 |
| Afternoon on the Promenade des Anglais | 1891 |
| Morning on the Promenade des Anglais | 1891 |
| Sunny Day in Nice | 1891 |
| Rooftops in Nice | 1891 |
| Night in Nice | 1891 |
| Fisherboy from Nice | 1891 |
| Boy's Head | 1891 |
| Young Woman in Blue | 1891 |
| Young Woman in Blue | 1891 |
| Model Scratching her Arm | 1891 |
| Rue Lafayette | 1891 |
| Rue de Rivoli | 1891 |
| Sunday in Åsgardstrand | 1891 |
| Young Blond Girl | 1891 |
| Summer Evening in Åsgardstrand | 1891 |
| In Open Air | 1891 |
| Summer | 1891 |
| Eroticism on a Summer Evening | 1891 |
| Karl Johan in the Rain | 1891 |
| Evening. Melancholy | 1891 |
| Woman in Blue against Blue Water | 1891 |
| Old Fisherman | 1891 |
| Pine Forest | 1891 |
| Summer Day in the Forest | 1891 |
| Forest Landscape | 1891 |
| From Nordstrand | 1891 |
| Landscape in Moonlight | 1891 |
| Woman by the Balustrade | 1891 |
| Inger in a White Blouse | 1891 |
| no:Jappe Nilssen | 1891 |
| Arve Arvesen | 1891 |
| Gunnar Heiberg | 1891 |
| Helge Rode | 1891 |
| Olga Buhre | 1891 |
| Alexandra Thaulow | 1891 |
| Kiss by the Window | 1891 |
| The Day After | 1891 |
| Munch Museum, Oslo, Norway | 1892 |
| Childhood Memory | 1892 |
| Gamblers in Monte Carlo | 1892 |
| Gamblers in Monte Carlo | 1892 |
| At the Roulette Table in Monte Carlo | 1892 |
| Sick Mood at Sunset. Despair | 1892 |
| Cypress in Moonlight | 1892 |
| Kiss by the Window | 1892 |
| The Kiss | 1892 |
| The Girl by the Window | 1892 |
| Woman Combing her Hair | 1892 |
| Woman Looking in the Mirror | 1892 |
| After the Bath | 1892 |
| From the Riviera | 1892 |
| From the Riviera | 1892 |
| Moonlight by the Mediterranean | 1892 |
| A Pine | 1892 |
| Trees by the Mediterranean | 1892 |
| From the Riviera | 1892 |
| Men Flocking round Women in Light Clothing | 1892 |
| Forest | 1892 |
| Moonlight on the Beach | 1892 |
| Mystery on the Shore | 1892 |
| Mystery on the Shore | 1892 |
| Two Human Beings. The Lonely Ones | 1892 |
| Melancholy | 1892 |
| Night in Saint-Cloud | 1892 |
| Night in Saint-Cloud | 1892-93 |
| Night in Saint-Cloud | 1892 |
| Vision | 1892 |
| The Water Lillies | 1892-93 |
| Evening on Karl Johan | 1892 |
| From Nordstrand | 1892 |
| On the Veranda | 1892 |
| Inger by the Window | 1892 |
| Inger in Black and Violet | 1892 |
| Seated Young Woman | 1892 |
| Autumn Rain | 1892 |
| Jakob Bratland | 1892 |
| Ludvig Meyer | 1892 |
| Thor Lütken | 1892 |
| Ragnhild andDagny Juel | 1892-93 |
| August Strindberg | 1892 |
| Night in Saint-Cloud | 1893 |
| The Girl by the Window | 1893 |
| Study of a Model | 1893 |
| Separation | 1893 |
| Woman with Red Hat | 1893-94 |
| Symbolic Study | 1893-94 |
| Portrait of a Man | 1893-94 |
| Woman's head against a red Background | 1893-94 |
| Self-Portrait under the Mask of a Woman | 1893 |
| Seated Nude and Grotesque Masque | 1893 |
| Sunrise in the Harbour | 1893-94 |
| Rosa and Amelie | 1893 |
| Sunrise in Åsgårdstrand | 1893-94 |
| Summer Night | 1893 |
| Melancholy | 1893 |
| Death at the Helm | 1893 |
| Summer Night. Mermaid | 1893 |
| Summer Night's Dream. The Voice | 1893 |
| Starry Night | 1893 |
| Starry Night | 1893 |
| Moonlight | 1893 |
| House in Moonlight | 1893-95 |
| The Storm | 1893 |
| Death and Spring | 1893 |
| The Angel of Death | 1893 |
| By the Deathbed. Fever | 1893 |
| Death in the Sickroom | 1893 |
| Death in the Sickroom | 1893 |
| Death in the Sickroom | 1893 |
| Vampire | 1893 |
| The Scream | 1893 |
| The Scream | 1893 |
| Vampire | 1893 |
| Vampire | 1893 |
| The Hands | 1893-94 |
| Dagny Juel Przybyszewska | 1893 |
| Helge Bäckström | 1893 |
| Minchen Torkildsen | 1893 |
| Ragnhild Bäkström | 1894 |
| Botho Graf Schwerin | 1894 |
| Ebehard von Bodenhausen | 1894 |
| Julius Meier-Graefe | 1894 |
| Separation | 1894 |
| Death and Life | 1894 |
| Puberty | 1894 |
| Puberty | 1894-95 |
| The Day After | 1894 |
| Vampire | 1894 |
| Selma Fontheim | 1894 |
| Selma Fontheim | 1894 |
| Nora Mengelberg | 1894 |
| Ludvig Meyer's Children | 1894 |
| Stanislaw Przybyszewski | 1894 |
| Inger in a Red Dress | 1894 |
| Bathing Women | 1894 |
| Bathers | 1894 |
| Bathing Boys | 1894 |
| Melancholy | 1894 |
| Melancholy | 1894-96 |
| Woman. Sphinx | 1894 |
| Woman | 1894 |
| Anxiety | 1894 |
| Despair | 1894 |
| Madonna | 1894 |
| Madonna | 1894-95 |
| Madonna | 1895 |
| Madonna | 1895-97 |
| Madonna | 1895-97 |
| Berlin Model | 1895 |
| Cabaret | 1895 |
| The Scream | 1895 |
| Vampire | 1895 |
| The Smell of Death | 1895 |
| The Smell of Death | 1895 |
| At the Deathbed | 1895 |
| Vampire | 1895 |
| Ashes | 1895 |
| Jealousy | 1895 |
| Beach in Åsgårdstrand | 1895 |
| Moonlight | 1895 |
| Self-Portrait with Cigarette | 1895 |
| Stanislaw Przybyszewski | 1895 |
| Oscar and Ingeborg Heiberg | 1895-96 |
| Half-Nude in a Black Skirt | 1896 |
| Study of a Nude | 1896 |
| Young Woman Washing herself | 1896 |
| Seated Nude against a Red Background | 1896 |
| Seated Nude with her Back Turned | 1896 |
| The Mermaid | 1896 |
| Summer Landscape | 1896 |
| The Sick Child | 1896 |
| Separation | 1896 |
| Summer Night. The Voice | 1896 |
| The Girl by the Window | 1896-97 |
| Bathing Woman | 1896-97 |
| The Kiss | 1896-97 |
| Women in a Swimming Pool | 1896-97 |
| Paul Herrmann and Paul Contard | 1897 |
| The Kiss | 1897 |
| The Kiss | 1897 |
| Inheritance | 1897-99 |
| Women in Hospital | 1897 |
| Mother and Daughter | 1897-99 |
| Two Women in a Landscape | 1897-99 |
| Old Man with a Beard | 1897-99 |
| Brothel Scene | 1897-99 |
| Hospital Ward | 1897-99 |
| Bathing Boys | 1897-98 |
| Bathing Boys | 1897-99 |
| Bathing Girls | 1897-99 |
| Bathing Children | 1897-99 |
| Bathing Boys | 1897-99 |
| Autumn | 1897-98 |
| Marie Helene Holmboe | 1898 |
| Female Portrait | 1898-99 |
| Dark-Haired Man and Red-Haired Woman | 1898-99 |
| Holger Drachmann | 1898 |
| Henrik Ibsenat theGrand Café | 1898 |
| Study of a Model | 1898 |
| Half-Nude in a Blue Skirt | 1898 |
| Nude | 1898 |
| Nude | 1898 |
| Two Women. Symbolic Study | 1898 |
| Sitting Nude by the Beach | 1898 |
| Man and Woman | 1898 |
| Nude in Profile towards the Right | 1898 |
| Metabolism | 1898-99 |
| Tulla Larsen | 1898-99 |
| Tulla Larsen | 1898-99 |
| Father and Son | 1898 |
| Seated Nude and Three Male Heads | 1898-99 |
| Tragedy | 1898 |
| Jealousy in the Bath | 1898 |
| Beach | 1898 |
| The Rainbow | 1898 |
| Woman by the Sea in Åsgardstrand | 1898 |
| House with Red Virginia Creeper | 1898-99 |
| House with Red Virginia Creeper | 1898-99 |
| Red Virginia Creeper | 1898-1900 |
| The Son | 1904 |
| The Coffin is Carried Out | 1898-1900 |
| Boulevard in Paris | 1898-1900 |
| Winter | 1899-1900 |
| Winter in the Woods, Nordstrand | 1899 |
| Death and the Child | 1899 |
| Death and the Child | 1899 |
| Landscape | 1899 |
| The Garden | 1899 |
| Munch's House and Studio in Åsgardstrand | 1899 |
| Munch's House in Åsgårdstrand | 1899 |
| Dark Spruce Forest | 1899 |
風格特點
愛德華·蒙克的畫作愛德華·蒙克多以生命、死亡、戀愛、恐怖和寂寞等為題材，用對比強烈的 線條、色塊、簡潔概括誇張的造型，抒發自己的感受和情緒；他的畫風是德國和中歐的表現主義形成的前奏。
愛德華·蒙克的早期油畫《病孩》、《在靈床旁》、《母親之死》，多是童年和少年時代生活的回憶。1890年的油畫《聖克盧之夜》和1892年的油畫《卡爾.約翰街的夜晚》標誌著他風格的轉折，顯示出他表現主義畫家的特質。90年代最有代表性的作品是《春情》和《吶喊》，前者描繪人對幽閉的恐懼，後者刻畫人對孤獨與死亡的恐怖感。他於1894年開始從事版畫創作，在木刻、石版、銅版畫方面，都有獨特的創造。他的版畫題材多取自於油畫，其中以《生命》組畫最為出色，被他自己稱為生命、愛和死的詩歌。
在愛德華·蒙克的畫家生涯中，他多次曾改變藝術風格。在1880年代，愛德華·蒙克是自然派和半印象派。1892年，愛德華·蒙克樹立了具個人特色的綜合派原始畫風，在此色彩成為一種象徵，亦是種具有承載功能的元素。1890年代，愛德華·蒙克傾向選擇景深較淺的作畫空間，他經常把畫中的人物安置在前台。
愛德華·蒙克一直想表現人物的內心的心理狀態，出現在他畫中的人物呈現了最能表現這種狀態的姿勢，這種安排讓愛德華·蒙克的畫帶來一種好像人物、空氣、記憶、動作和時間在一霎剎那間凝固的感覺，那也許正是人物內心活動達到頂峰的一瞬間。
愛德華·蒙克所畫的人物，猶如舞台劇的各個角色，很可能每種特定的姿勢就代表一種特定情緒，類似於某種身體語言。由於愛德華·蒙克所畫的人物都承擔著表現一種特定心理狀態的使命，所以他創造的男人和女人不是現實的。愛德華·蒙克堅稱，印象派並不適合於自己的藝術。他對描寫現實的任意一個斷面也不感興趣，他要描寫的是那種充滿了情緒內涵的，且具有巨大的傳神力的狀態。為了達到這個目的，愛德華·蒙克殫精竭慮地構思，他的作品創造了緊張氣氛。
人物評價
愛德華·蒙克的作品筆觸大膽奔放、色彩艷麗豐富，但卻給人強烈的刺激感，充滿著緊張不安、壓抑悲傷的情緒。愛德華·蒙克所描繪的世界是人類複雜的精神世界，他刻意表現死亡、憂鬱和孤獨，描寫上世紀末的藝術家在充滿矛盾與痛苦的現實中，其孤獨的心靈對人生產生的懷疑和焦慮。
藝術史家稱愛德華·蒙克為“世紀末”的藝術家，因為他的作品反映了歐洲整整一代人的精神生活面貌。在愛德華·蒙克生活的時代，再沒有別的藝術能夠像他那樣深入到人的靈魂之中，把那心靈的美與醜一併展現給世人。也沒有人敢於像他那樣赤裸裸地描寫人類本能的醜惡，使善良與罪惡並存，讓美麗與醜陋共生。
