I found it interesting that the central figure is nearly identical in all 4 versions, but the background figures change. In all 4 versions they seem to be utterly indifferent to the screaming figure, but that's probably the point Munch is making. Thanks for showing us all 4 together!
Yes, great point. Another reader also mentioned a very simliar thing to that too, albeit in terms of the central figure. So I definitely think you’re right that it’s all an intentional part of the point Munch is making.
It's kind of shocking how different all the versions feel. As if the reason of terror was different each time. Feels like a story rather than new versions of the same experince.
Great post George. I never knew there were four screams. I noticed on the last one the man in the back was looking over the rail. Whatever the scream was about , it clearly affected Munch to make so many copies. He would certainly be screaming now to know how much money it fetched!
Thanks Diane. Yes, definitely - the experience Munch had must have left such a mark on him, he needed so many attempts just to really exorcise it from his system.
And I think you're right about his reaction if he did know how much money the work fetched all these years later! Although whether it would have been a scream of joy, or despair at such an inflated market, only he would know!!
I'll be visiting Oslo next month and saw that the Munch Museum has a few versions of the scream on rotation and was unsure what that meant, this is a great explanation, thank you!
I love Munch's use of color and shape. I also find him to be hilarious.
Of the 4, I like the first one. The background figures are enjoying the lovely scene; while the foreground character is in agony. The more prominent of the background figures even has a smile.
The next one is darker, and the interaction with the background figures is gone. That first of them has literally last his head. And the scene is no longer lovely.
By the third one, the agonized figure is losing his head. We can not look into his/her eyes any more. They are gone, And the background figures are leaving. Good bye. Even the lovely scene is melting into a whirlpool.
In the fourth one: the agonee has eyes again. The first background figure is saying to himself, "this again?" The second one is saying, "hey, look. The boat is floating on level water again."
I think that Munch laughed all the way to the bank with the series. He was happy to play along, is the sense that I have from this and other of his work.
The third version, done in 1910, is my favorite. In addition to the swirling water and clouds echoing the swirling body of the screamer we can see the whiteness of the water near the center and the darker swirls beyond to the right as a direct reflection of the person screaming. The darkest swirling area seems to be a negative of his white open mouth. All of this background conveys a disturbing whirlpool of madness and confusion within the mind of the central figure. It’s only the bridge that he stands on which gives him and the viewer any sense of stability although even then this walkway emerges from the left or sinistral side, adding to the sense of unease.
This is also the only one of the four paintings in which the entire head, including the lips and eyes, appear as white. They remind me so much of Ahab’s Moby Dick, an augury of self destruction. The effect is much more ghastly than the others as though the individual has been drained of blood. Whiteness can be just as deadly as darkness and effectively symbolize the void or death.
I found it interesting that the central figure is nearly identical in all 4 versions, but the background figures change. In all 4 versions they seem to be utterly indifferent to the screaming figure, but that's probably the point Munch is making. Thanks for showing us all 4 together!
Yes, great point. Another reader also mentioned a very simliar thing to that too, albeit in terms of the central figure. So I definitely think you’re right that it’s all an intentional part of the point Munch is making.
It's kind of shocking how different all the versions feel. As if the reason of terror was different each time. Feels like a story rather than new versions of the same experince.
That’s such a great observation. You’re so right.
(So glad you presented the black and white lithograph too. 😊)
Thanks. I couldn't resist giving it a little feature at the end!
Great post George. I never knew there were four screams. I noticed on the last one the man in the back was looking over the rail. Whatever the scream was about , it clearly affected Munch to make so many copies. He would certainly be screaming now to know how much money it fetched!
Thanks Diane. Yes, definitely - the experience Munch had must have left such a mark on him, he needed so many attempts just to really exorcise it from his system.
And I think you're right about his reaction if he did know how much money the work fetched all these years later! Although whether it would have been a scream of joy, or despair at such an inflated market, only he would know!!
I think maybe he would scream with laughter!!
We’re going to Oslo next week and this article has made me so excited to go to both museums! Very interesting read!
Oh, amazing! Hope you have a great trip and enjoy those museums. :)
Retelling your article to my family made me sound very smart:) Thanks for such timely and detailed information! Can’t wait to see the originals-1!
Oh, even better!! I'm sure you'll be very popular sharing about it all again when you're in front of the originals.
Excellent summary of the Artists work, I was fortunate enough to visit the village that he lived in and take in the surroundings.
That's fascinating. I wasn't aware there were four versions of this piece. Thanks George.
I'll be visiting Oslo next month and saw that the Munch Museum has a few versions of the scream on rotation and was unsure what that meant, this is a great explanation, thank you!
Love your posts but it should be its in this sentence: "walls of it’s museum home on the same day" since it's possessive NOT a short form for it is🤭
I think I like the last one! It has a nice contrast between the vivid colors and internal anguish
I love Munch's use of color and shape. I also find him to be hilarious.
Of the 4, I like the first one. The background figures are enjoying the lovely scene; while the foreground character is in agony. The more prominent of the background figures even has a smile.
The next one is darker, and the interaction with the background figures is gone. That first of them has literally last his head. And the scene is no longer lovely.
By the third one, the agonized figure is losing his head. We can not look into his/her eyes any more. They are gone, And the background figures are leaving. Good bye. Even the lovely scene is melting into a whirlpool.
In the fourth one: the agonee has eyes again. The first background figure is saying to himself, "this again?" The second one is saying, "hey, look. The boat is floating on level water again."
I think that Munch laughed all the way to the bank with the series. He was happy to play along, is the sense that I have from this and other of his work.
Interesting observation. Maybe these could be viewed as a sort of time lapsed photography of an emotional moment.
The third version, done in 1910, is my favorite. In addition to the swirling water and clouds echoing the swirling body of the screamer we can see the whiteness of the water near the center and the darker swirls beyond to the right as a direct reflection of the person screaming. The darkest swirling area seems to be a negative of his white open mouth. All of this background conveys a disturbing whirlpool of madness and confusion within the mind of the central figure. It’s only the bridge that he stands on which gives him and the viewer any sense of stability although even then this walkway emerges from the left or sinistral side, adding to the sense of unease.
This is also the only one of the four paintings in which the entire head, including the lips and eyes, appear as white. They remind me so much of Ahab’s Moby Dick, an augury of self destruction. The effect is much more ghastly than the others as though the individual has been drained of blood. Whiteness can be just as deadly as darkness and effectively symbolize the void or death.