Few artists have been as singularly identified with a piece of existential dread as Edvard Munch and his iterations of Scream. Despite this predilection, Munch was an artist of many parts. An oil-on-canvas portrait, to be unveiled in March in London, of a lawyer friend Thor Lütken, offers a glimpse into a softer side of the Norwegian expressionist. Painted in 1892, a year before Scream, it reveals a painting-within-a-painting. At the bottom of the canvas, one of the sleeves of Lütken opens up into a........

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