The Scream is an art composition created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik ('Scream'), and the German title under which it was first exhibited is Der Schrei der Natur ('The Scream of Nature'). The agonized face in the painting has become one of the most iconic images in art, seen as representing a profound experience of existential dread related to the human condition. Munch's work, including The Scream, had a formative influence on the Expressionist movement. Munch recalled that he had been out for a walk at sunset when suddenly the setting sun's light turned the clouds "a blood red". He sensed an "infinite scream passing through nature". Scholars have located the spot along a fjord path overlooking Oslo and have suggested various explanations for the unnaturally orange sky, ranging from the effects of a volcanic eruption to a psychological reaction by Munch to his sister's commitment at a nearby lunatic asylum. Munch created two versions in paint and two in pastels, as well as a lithograph stone from which several prints survive. Both painted versions have been stolen from public museums, but since recovered. In 2012, one of the pastel versions commanded the highest nominal price paid for an artwork at a public auction at that time.
Sources of inspiration
In his diary in an entry headed "Nice 22 January 1892", Munch wrote:
One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord – the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream. He later described his inspiration for the image:
I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature. Some scholars believe, based upon these accounts, that Munch was describing a panic attack. Among theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream. This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Another explanation for the red skies is that they are due to the appearance of nacreous clouds which occur at the latitude of Norway and which look remarkably similar to the skies depicted in The Scream. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. The scene was identified as being the view from a road overlooking Oslo, by the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the mental asylum at the foot of Ekeberg.
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, skeletal creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch, like Paul Gauguin, could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Gauguin: it stood as a model for figures in more than twenty of Gauguin's paintings, among those the central figure in his painting Human misery (Grape harvest at Arles) and for the old woman at the left in his 1897 painting Where Do We Come From? What Are We? Where Are We Going?. In 2004, Italian anthropologist Piero Mannucci speculated that Munch might have seen a mummy in Florence's Museum of Natural History which bears an even more striking resemblance to the painting. However, later studies have disputed that theory, as Munch did not visit Florence until after painting The Scream. The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time." It has been widely interpreted as representing the universal anxiety of modern humanity.
Versions
Munch created four versions, two in paint and two in pastels. The first version was painted in 1893, between Berlin in Germany and Åsgårdstrand in Norway. It was exhibited the same year, alongside other artworks in a series which Munch called The Frieze of Life. It is in the collection of the National Museum of Norway in Oslo. This is the version that has the barely visible pencil inscription "Kan kun være malet af en gal Mand!" ("could only have been painted by a madman"). A pastel version from that year, which may have been a preliminary study, is in the collection of the Munch Museum, also in Oslo. The second pastel version, from 1895, was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black. The second painted version dates from 1910, during a period when Munch revisited some of his prior compositions. It is also in the collection of the Munch Museum. These versions have seldom traveled, though the 1895 pastel was exhibited at the Museum of Modern Art in New York from October 2012 to April 2013, and the 1893 pastel was exhibited at the Van Gogh Museum in Amsterdam in 2015. Additionally, Munch created a lithograph stone of the composition in 1895 from which several prints produced by Munch survive. Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence. The material composition of the 1893 painted version was examined in 2010. The pigment analysis revealed the use of cadmium yellow, vermilion, ultramarine and viridian, among other pigments in use in the 19th century.
… excerpt ends here. Continue reading the full article.
