The KODE museum in Bergen (Norway) has an astonishing collection of Edvard Munch paintings. It is the third Munch’s largest collection in the world and boasts Munch’s main works. Though, I enjoy their collection especially for their Munch’s early paintings. Read more about Edvard Munch and his works on Artsy.
For this museum I did multispectral imaging documentation of 43 paintings and 6 prints of Edvard Munch..
“The Death Bed” (1895) imaging documentation, loaded on IIP server is visible here.
Munch’s paintings have been subject recently to technical art examination, especially from Biljana Topolova-Casadiego, conservator at the Munch Museet in Oslo.
 L. E. Plahter “Below the surface of Edvard Munch. Technical examination of four paintings by Edvard Munch” Nasjonalgalleriet Oslo, 1994. Radiography and infrared Reflectography studies. Plahter has done extensive work on other Norwegian art, such as J. C. Dahl.  B. Singer, T. Aslaksby, B. Topalova-Casadiego, Eva Storevik Tveit “Investigation of Materials Used by Edvard Munch” Studies in Conservation 55, 1-19, 2010. As the title says, plenty of material information.  U. Plahter, B. Topalova-Casadiego “The scream by Edvard Munch: painting techniques and colouring materials” in Studying Old Masters paintings, ed. M. Spring, The National Gallery Technical Bulletin, 244-252, 2008.
Pigments Checker is for photographers, conservators and scientists interested in technical documentation of paintingss. It has 54 swatches of historical pigments designed for infrared photography, ultraviolet photography and other technical photographic methods for art examination. Check it out!
Pigments Checker is a collection of 54 swatches of historical pigments that have been applied using gum arabic as a binder on a cellulose and cotton watercolor paper, acids and lignin free. This paper is not treated with optical brighteners, it’s slightly UV fluorescent, and it reflects IR. Two cross-hair lines, 0,2 mm (vertical) and 0.4 mm (horizontal) are printed on each swatch of paper before the application of paint, in order to have a means to evaluate the pigments’ transparency in the IR and IRR imaging. Among all the pigments and their varieties ever used in art these pigments collection select the most used ones from antiquity to early 1950’.
Online Resources T. Froisaker, M. Liu, C. Miliani “Non-invasive assessments of cleaning tests on an unvarnished oil-painting on canvas by Edvard Munch” A poster available on line. Palette information.  B. Topalova-Casadiego,”Examination of ‘Separation‘”. Munch Museet website.  “Hyperspectral image capture and analysis of The Scream painted by Edvard Munch in 1893“. The Norwegian Colour and Visual Computing Laboratory, Gjøvik University College, Gjøvik, Norway, is applying hyperspectral imaging on The Scream (1893).
This group is holding the “Colour and Visual Computing Symposium 2013” in Gjøvik, Norway. http://www.colourlab.no/cvcs/ If you are interested, the submission deadline is in 2 weeks. Biljana Topalova-Casadiego, ‘Technical Aspects of Edvard Munch’s Painting’, in Edvard Munch, The Complete Paintings, G. Woll (ed.), London: Thames and Hudson (2009). I didn’t read this resource yet, though, Jilleen Nadolny, who worked on its translation from the Norwegian, with Katja Stieglitz, strongly recommended it as one of the most complete discussion on Munch’s technique. [ws_table id=”4″]