Arriving at Ekeberg Park at sunset, the muddy paths lead to a viewpoint overlooking Oslo. The late winter sky resembles a watercolor, with soft blues and greys blending into hues of yellow above the distant hills. From this very spot in 1892, Edvard Munch described hearing “a great and infinite scream through nature,” an experience that inspired one of his most iconic paintings.
Today, the park is filled with the laughter of children and the rhythmic steps of joggers. While the eerie scream Munch wrote about remains a mystery, the view of the Oslofjord and the city skyline continues to captivate visitors. Among the modern buildings along the Bjørvika waterfront, the Munch Museum stands out, its tilted top appearing to bow toward the city that shaped so many of the artist’s works.
Inside, the museum showcases an extensive collection of Munch’s pieces. A dimly lit rotunda displays three versions of The Scream for 30-minute intervals to preserve their colors. One bears water damage from a daring daylight robbery in 2004, recovered two years later. Another version resides at the National Museum under the watchful eyes of security guards, having been stolen and returned in 1994. In total, Munch created eight versions of The Scream, each an enduring symbol of existential dread.
Beyond The Scream, the museum highlights sketches for the Aula paintings, large-scale works created for Oslo University’s ceremonial hall. These monumental pieces, depicting an abstract sun, a nurturing mother by the shore, and a fisherman teaching a boy, were hidden in a mine during the Nazi occupation to protect them. Labeled as “degenerate art” by the regime, Munch’s work was later restored to its rightful place in the university hall, accessible to the public on select days.
A short journey from Oslo leads to Ramme, where Munch painted some of these works. Nestled by the Oslofjord, this peaceful retreat features his former home and outdoor studio, surrounded by apple trees and rugged shoreline. The house, maintained in its original condition, is open to visitors and even available for summer rentals. Walking along the beach, interpretive boards align Munch’s paintings with the surrounding views, offering insight into his deep connection to nature.
Back in the city, a walking tour of the vibrant Grünerløkka quarter reveals key sites from Munch’s life. His family lived in several buildings here, their locations now marked with plaques. It was in this neighborhood that he painted The Sick Child, an emotional depiction inspired by his sister’s death from tuberculosis. Today, the area is bustling with life vintage shops, hip cafes, and colorful trams define the streets, where artists and creatives mingle. In a coffee shop, it’s easy to imagine passing a modern-day version of Munch’s Madonna a striking figure in a red beret, lost in thought.
Before leaving, a visit to Munch’s grave at Our Saviour’s Cemetery offers a moment of reflection. His legacy lives on, not only in the galleries but also in the spirit of the city itself. Given his fascination with self-portraits, one can only imagine that if he were alive today, he would embrace the modern age as a master of the selfie.
