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Edward Munch. The Scream. (1893).

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Edward Munch. The Scream. (1893).

Norwegian Expressionist painter Edward Munch carried out 4 versions of the Scream. Two moderated on paperboard are with the Munch museum of Oslo (83.5 X 66 cm) an oil moderated and pastel is with the Gallery of Oslo (91 X 73.5 cm) a fourth version gone back to 1895 is in a particular collection and is spent on sale on May 2nd, 2012 by Sotheby' s in New York. This work, true anguish existential is regarded as most important of the artist. The Scream belongs to an ambitious series of 22 paintings : The Plank of the Life built a little like a musical composition, the artist expresses the melancholy, the anguish, the jealousy, the fear, the love and many other emotions. He seeks to fix “ moments of emotions ”, on his painting as on a photographic plate. This portrait of face, sometimes compared to a mummy ( ! ) is deformed by the torsion of the scream. The face lengthens upwards while undulating and the movement rocks with horizontal on the level of the sky. Contrast between hot and cold colors still adds with the tension. For the Plank of the life Munch gave a program: “ It is necessary that they are alive men, who breathe and who feel, which suffers and which likes. ” Being detached from the French influences of impressionism, its work finds its language. The feeling of the power and the mystery of nature lived like a distress, until the anguish and terror. The figure, without individualization, entirely condensed in its “ scream ”, the tragedy of the life reflected in the interior world.
The point of view of the spectator is at the level of the top of the head of the character. With the place or the distortion is projected out of him. The artist associated a note in one of his newspapers by the way of this work: “ I was walking along the road with two friends - the sun lay down - suddenly the sky became red blood - I made a pause, feeling me exhausted, and am supported to me against the grid - there was blood and tongues of fire de above fjord blue-black and the city - my friends continued to walk, and I remained there trembling of anxiety - and I intended an infinite cry to tear Nature ”.
The face of the character is between the 2 vertical tension fields, and between 2 natural points of interest. The glowing sky is located to him at the top of the higher tension field him also between 2 natural points of interest.
The blue s and oranges zones seem to dispute pictorial space as if they were in competition. The day and the night, the calm and anguish.
Painting is built on the rising diagonal from left to right. The emotion assembles bottom of the person towards the sky on the line then it operates a turn on the left and changes direction towards the horizontal left. Throughout the course the sinuous lines contours of this wave or this vibration mark.
Details : 
En proie à une vive émotion le personnage pour ne pas entendre « le Cri » se bouche les oreilles. Les mains sont d’une longueur extrême. 
This sunset of a blazing red, is caused by the eruption of Krakatoa, volcanic small island of the south-west of Indonesia. This volcanic eruption, since May 20th, 1893 reached its maximum activity with a succession of gigantic explosions on August 27th which destroyed most of the island. This explosion was strongest of the history; she was heard approximately 4,800 away km. The slags, projected in the form of fine dust, were dispersed by the airstreams, during the three following years, one could observe rising and sunsets very coloured because of the refraction of the solar rays on the tiny particles.
One does not seem to be able to escape the cry from Nature, unless stopping the ears; what the central figure does. The spectator cannot escape to him either the giddiness from the curves. This giddiness comes from the anguish caused by the central figure that the two characters with the background seem to be unaware of.
The light seems to move on the web, of the face, with water then with the sky. In the same way on the pier. It seems to move towards the characters who for the moment do not seem yet concerned.
Colors : Contrasts between complementary.
Similar Paintings :
Edward Munch. The Kiss. (1897).
Edward Munch. Vampire. (1895).
Edward Munch. Distresses. (1894).