Ten years after the last retrospective dedicated to him, Edvard Munch returns to Paris, the city adapting the modern eye of the Norwegian painter into a prism through which to view his entire artistic career. It isn’t just The Scream that makes the art of this Master, who died in Oslo in 1944, magnetic. From 20 September to 22 January, the Musée d’Orsay, in line with its offerings centered around rediscovering those figures, not only French, who paved the way to modernity, will host an exhibition dedicated to Edvard Munch entitled Un Poème de Vie, d’Amour et de Mort. Helping the guests of the Parisian museum understand the complexity but also the modernity of Munch’s versatile brush are around one-hundred masterpieces, including 40 famous paintings and a series of drawings and prints. The work of the artist, innervated in a singular vision of the world which gives it a strong symbolist charge, the backbone of all his works which goes beyond those created around 1890, finds its roots in the XIX Century. The itinerary conceived by the Musée d’Orsay with the exceptional collaboration of the MunchMuseet of Oslo, offers guests a global look at this work, highlighting its extraordinary coherence. Among the more noteworthy pieces, visitors will appreciate Girls on the Bridge, Fresh Snow on the Street, Starry Night, The Sun and the celebrated Vampire, on loan from the MunchMuseet. The exhibition does not follow any chronological order but, rather, the pincipal of cycles at the basis of that symbolism which plays a fundamental role in the thinking and art of Munch. The artist, thrilled by the concept of metabolism, often expresses the idea that humanity and nature are inexorably united in the cycle of life, death and rebirth. He developed an original iconography, inspired, in part, by the vitalistic philosophies of Friedrich Nietzsche and Henri Bergson. We find the concept of the cycle on numerous levels of the work of Munch, an essential instrument for understanding his painting and which also finds a place in the construction of his canvases, where certain models are regularly repeated. Thus, we come to understand his creative process which brings him to regularly create multiple variations of the same motif, but also various versions of the same subject, moving from one medium to another.