The scene and figure have completely crossed over into a world of subjectivity,
creating a work of conceptual rather than perceptual reality. Colors and forms communicate
the mental condition of the subject. In addition, perspective is bent, and the
ground plane is similarly subjectively treated by tipping it toward the picture
plane to an impossible degree, pushing the horizon line unnaturally upward. The
rules of reality are compromised in favor of expressing a mental condition of
emptiness verging on horror.
Munch has rather elegantly blended the definition of line and shape similar to the style of van Gogh, lending strength to the surrealist character of this work and building a nearly incidental, textural pattern across the canvas. An impressionist quality is present in how purity is applied to individual brush strokes that the eye mixes in its reading of the composition. Texturing, neither simulated nor abstracted, is a hidden strength of this composition and falls in line with color in its support of emotional content.
Munch is simply toying with the idea of pictorial depth. The emotional energy of the subject and his position nearly invade the space of the observer, and this intimacy is emphasized by the extreme perspective that formats the gangway. The composition is flattened by the fiery formatting of the sky that clashes against the body of water beneath it. Negative space is not respected; the composition is simultaneously flat and deep.
Formally, this seminal work is not as structured as the emotional content is desperate, but there is some order. Rough, vague texture and detail, intermingling of discordant color and a triangular flow of energy created by blended edges create a great deal stable motion. As mentioned, emotional content drives interest, as well as the tension generated by relative coolness, brightness and curved versus rigid edges.
(Conclusion based upon study) This painting is Munch’s reflection of a personal experience when he “sensed a shriek passing through nature…” The distortion of space and raw, subjective treatment of color reflect the impact an unbidden and visceral sense of horror has on the senses. This treatment of pictorial depth also references a sudden sense of isolation and reality-breaking fear of open space, as well. The figure’s attempt to drown out the sudden an unavoidable need to scream by covering his ears is clearly pointless. This is truly a masterful example of expressive abstraction.
Munch has rather elegantly blended the definition of line and shape similar to the style of van Gogh, lending strength to the surrealist character of this work and building a nearly incidental, textural pattern across the canvas. An impressionist quality is present in how purity is applied to individual brush strokes that the eye mixes in its reading of the composition. Texturing, neither simulated nor abstracted, is a hidden strength of this composition and falls in line with color in its support of emotional content.
Munch is simply toying with the idea of pictorial depth. The emotional energy of the subject and his position nearly invade the space of the observer, and this intimacy is emphasized by the extreme perspective that formats the gangway. The composition is flattened by the fiery formatting of the sky that clashes against the body of water beneath it. Negative space is not respected; the composition is simultaneously flat and deep.
Formally, this seminal work is not as structured as the emotional content is desperate, but there is some order. Rough, vague texture and detail, intermingling of discordant color and a triangular flow of energy created by blended edges create a great deal stable motion. As mentioned, emotional content drives interest, as well as the tension generated by relative coolness, brightness and curved versus rigid edges.
(Conclusion based upon study) This painting is Munch’s reflection of a personal experience when he “sensed a shriek passing through nature…” The distortion of space and raw, subjective treatment of color reflect the impact an unbidden and visceral sense of horror has on the senses. This treatment of pictorial depth also references a sudden sense of isolation and reality-breaking fear of open space, as well. The figure’s attempt to drown out the sudden an unavoidable need to scream by covering his ears is clearly pointless. This is truly a masterful example of expressive abstraction.
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