By the time Munch moved to Ekely he was a renowned and wealthy artist. The colourful production from this period, inspired by the settings at Ekely, testifies to the beneficial working conditions he found here. Munch painted the fertile nature, the changing of the seasons from summer to autumn, winter to spring, from horses ploughing fields until crops were harvested. He showed how people and their environment affect each other, becoming reciprocal and equal parts of a larger whole. Garden scenes were utilised in new versions of “old” motifs. Meeting on the Beach is moved to Ekely’s garden pavilion. Evocative impressions of old gnarled trees are depicted in the paintings of the elm forest, which was part of the estate. Some of the most emotionally charged Ekely paintings are Munch’s winter landscapes, of which Starry Night is the best known. In his self-portraits, Munch confronts himself with barefaced honesty and is often merciless in his psychological self-examination, as in Self-portrait Between the Clock and the Bed. Munch’s winter studio, the construction of which he documented in a number of pictures, has been preserved unchanged on the property.
In 1916 Edvard Munch bought the estate Ekely, a former nursery on the outskirts of Oslo. This would be Munch’s permanent residence for the rest of his life.