"I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available"

Edvard Munch's quote, "I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available," shows a profound understanding of the relationship in between artistic production and logistical functionality. In translating this statement, it is necessary to recognize the pragmatic knowledge Munch communicates about the creation and exhibit of art.

First of all, Munch emphasizes the importance of context for his work. The "Frieze" he refers to is likely his series of paintings, referred to as "The Frieze of Life," which explores deep styles of love, fear, life, and death. For Munch, art was not merely about the act of production but likewise about how and where it is displayed. He suggests that ending up an art piece without having the correct area for its display decreases its desired impact. Art, in Munch's view, is interconnected with its environment, both physically and thematically.

In addition, Munch highlights the useful side of art development-- financial factors to consider. By keeping in mind the need for "funds for its completion," he acknowledges that art is not created in a vacuum. The resources needed to both produce and show art are integral to the creative process. This speaks with a broader understanding that art counts on assistance, whether from clients, organizations, or the general public.

Additionally, Munch's quote speaks with the perseverance required in the creative process. The recommendation that rushing to finish the art work without making sure the necessary resources and appropriate setting were readily available would be "incorrect" recommends a devotion to quality and stability over expediency. Munch demands the deliberate and thoughtful development of an idea, one that marries visual vision with useful execution.

Ultimately, Munch's statement is a testament to his holistic approach to art, where the creative vision must be balanced with logistical truths, making sure that when an artwork and its surrounding environment assemble, they elevate the experience for both the artist and the audience.