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About This Artwork
The Girl by the Window, 1893
Oil on canvas
96.5 x 65.4 cm (38 x 25 3/4 in.)
Inscribed lower right: E - Munch
Searle Family Trust and Goldabelle McComb Finn endowments; Charles H. and Mary F.S. Worcester Collection, 2000.50
Woll EM 303
Kristiania (present-day Oslo), Juveler Tostrups Gaard, Edvard Munch's Maleriudstilling, September 1892, no. 45.
Berlin, Verein Berliner Künstler, Sonder-Ausstellung des Malers Edvard Munch aus Christiania, November 5–19, 1892, no. 23; traveled to Düsseldorf, Eduard Schulte, November 1892; Köln, Eduard Schulte, December 1892; Berlin, Equitable-Palast, December 1892 – January 1893; Copenhagen, Skandinavisk Kunstudstillings Lokaler, February – March 1893; Dresden, Victoriahaus, May 1893.
Lugano, Museo d'Arte Moderna, Edvard Munch, September 19–December 13, 1998, no. 15
Vienna, Graphische Sammlung Albertina "Edvard Munch: Themes and Variations" March 14-June 22, 2003, cat.
Oslo, Munch Museum, "Munch becoming Munch: Artistic Strategies, 1880–1892," October 8, 2008–January 12, 2009, cat. 171 (ill.).
Chicago, The Art Institute of Chicago, Becoming Edvard Munch: Influence, Anxiety, and Myth, February 14–April 26, 2009, cat. 14 (ill.).
Bremen, Kunsthalle Bremen, Edvard Munch - Mystery behind the Canvas, October 15, 2011-Febiary 26, 2012, no. 21 (ill.).
Dr. Relling, "Der Fall Munch," Die Kunst für Alle 8, no. 7 (1893), p. 102.
Harold Holst Halvorsen, Katalog av Edvard Munchs Kunstverker samlet av Harold Holst Halvorsen, Kunsthandler (Oslo, 1952), p. 4 (ill.).
Paris, Musée d’Orsay, Munch et la France, exh. cat., 1992, fig. 89.
Jan Kneher, Edvard Munch in seinen Ausstellungen zwischen 1892 und 1912: Eine Dokumentation der Ausstellungen und Studie zur Rezeptionsgeschichte von Munchs Kunst (Worms, 1994), pp. 10, 15, 369.
Jay A. Clarke, “Girl Looking out the Window" in Art Institute of Chicago Museum Studies 30, 1, (2004), pp. 70-71 (color ill.).
Jay A. Clarke, "Munch's Critical Reception in the 1890s and His 'Place' in History" in Seeing and Beyond: Essays on Eighteenth- to Twenty-First-Century Art in Honor of Kermit S. Champa (New York, 2005), pp. 191-92, 199, fig. 3.
Gerd Woll, “Use and Re-Use in Munch’s Earliest Paintings,” Munch Becoming “Munch”: Artistic Startegies 1880-1892, Exh. cat. (Munch Museet, 2008), ill. 84, p. 93-94, p. 97, ill. 98, p. 100, p. 150, p. 179, p. 199, p. 226, cat. 171.
Gerd Woll, Edvard Munch: complete paintings: catalogue raisonné, Vol. 1, (London, 2009), cat. no. 303.
Anne Buschhoff, "Liebe, Angst und Tod in Werken von Edvard Munchs Zeitgenossen-Max Klinger, Odilon Redon, Félicien Rops, Félix Vallotton und andere," Edvard Munch: Rätsel hinter der Leinwand, ed. Dorothee Hansen, Exh. cat. (DuMont, 2012), p. 74, ill. 75, p. 166, (ill.), p. 221.
Arthur von Franquet (died 1931), Braunschweig, from 1893 [acquired directly from the artist; see correspondence in Munch Museum archives, Oslo]; by descent to his nephew Herbert von Franquet, 1931. Sold to Neue Galerie, Vienna, 25 September 1935 [letter from Otto Kallir Nirenstein, Neue Galerie, to Edvard Munch, 26 September 1935, in Munch Museum archives, in which he states that he bought the picture the previous day and it "stammt aus der Sammlung Franquet," copy in curatorial file]. Harald Hort Halvorsen, Oslo, 1937 [bought in Paris in 1937 according to Halvorsen 1952]; sold by him to Pål Kavli, Oslo, c. 1937; by descent to Kavli’s second wife, Reidun Kavli (died 1996) [see correspondence and notes in curatorial file]; sold to Mr. Allan Andersen, Denmark; Luc Bellier, Paris as agent for Allan Andersen; sold to the Art Institute, 2000.