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MUNCH, Edvard, Featured Paintings in Detail (1)
MUNCH, Edvard
The Scream
1893
Oil, tempera & pastel on
cardboard, 91 × 73.5 cm
The National Gallery, Oslo
MUNCH, Edvard
The Scream (detail)
1893
Oil, tempera & pastel on
cardboard, 91 × 73.5 cm
The National Gallery, Oslo
MUNCH, Edvard
The Scream (detail)
1893
Oil, tempera & pastel on
cardboard, 91 × 73.5 cm
The National Gallery, Oslo
MUNCH, Edvard
The Scream (detail)
1893
Oil, tempera & pastel on
cardboard, 91 × 73.5 cm
The National Gallery, Oslo
MUNCH, Edvard
The Scream (detail)
1893
Oil, tempera & pastel on
cardboard, 91 × 73.5 cm
The National Gallery, Oslo
MUNCH, Edvard
Featured Paintings in Detail
(1)
MUNCH, Edvard, Featured Paintings in Detail (1)
MUNCH, Edvard
Madonna
1894
Oil on canvas, 68.5 x 90 cm
The Munch Museum, Oslo
MUNCH, Edvard
Madonna (detail)
1894
Oil on canvas, 68.5 x 90 cm
The Munch Museum, Oslo
MUNCH, Edvard
Madonna (detail)
1894
Oil on canvas, 68.5 x 90 cm
The Munch Museum, Oslo
MUNCH, Edvard, Featured Paintings in Detail (1)
MUNCH, Edvard
Death In The Sickroom
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard
Death In The Sickroom (detail)
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard
Death In The Sickroom (detail)
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard
Death In The Sickroom (detail)
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard
Death In The Sickroom (detail)
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard
Death In The Sickroom (detail)
1893
Oil on canvas, 160 x 134.5 cm
The Munch Museum, Oslo
MUNCH, Edvard, Featured Paintings in Detail (1)
MUNCH, Edvard
Anxiety
1894
Oil on canvas, 74 x 94 cm
The Munch Museum, Oslo
MUNCH, Edvard
Anxiety (detail)
1894
Oil on canvas, 74 x 94 cm
The Munch Museum, Oslo
MUNCH, Edvard
Anxiety (detail)
1894
Oil on canvas, 74 x 94 cm
The Munch Museum, Oslo
MUNCH, Edvard
Anxiety (detail)
1894
Oil on canvas, 74 x 94 cm
The Munch Museum, Oslo
MUNCH, Edvard
Anxiety (detail)
1894
Oil on canvas, 74 x 94 cm
The Munch Museum, Oslo
MUNCH, Edvard, Featured Paintings in Detail (1)
MUNCH, Edvard
Golgatha
1900
Oil on canvas, 80x120 cm
The Munch Museum, Oslo
MUNCH, Edvard
Golgatha (detail)
1900
Oil on canvas, 80x120 cm
The Munch Museum, Oslo
MUNCH, Edvard
Golgatha (detail)
1900
Oil on canvas, 80x120 cm
The Munch Museum, Oslo
MUNCH, Edvard
Golgatha (detail)
1900
Oil on canvas, 80x120 cm
The Munch Museum, Oslo
cast MUNCH, Edvard
Featured Paintings in Detail (1)
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MUNCH, Edvard
The Scream
1893
The National Gallery, Oslo
The Scream is the best known and most frequently reproduced of all Munch’s motifs. With its expressive colours, its flowing lines and striking overall
effect, its appeal is universal.
Despite radical simplification, the landscape in the picture is recognisable as the Kristiania Fjord seen from Ekeberg, with a broad view over the fjord, the
town and the hills beyond. In the background to the left, at the end of the path with the balustrade that cuts diagonally across the picture, we see two
strolling figures, often regarded as two friends whom Munch mentions in notes relating to the picture.
But the figure in the foreground is the first to capture the viewer’s attention. Its hands are held to its head and its mouth is wide open in a silent scream,
which is amplified by the undulating movement running through the surrounding landscape.
The figure is ambiguous and it is hard to say whether it is a man or a woman, young or old – or even if it is human at all.As with many of Munch’s
pictures, it is assumed that here as well his starting point was private feelings and experience.
The Scream was first exhibited at Munch’s solo exhibition in Berlin in 1893. It was a central element in “The Frieze of Life”, and has been the theme of
probing analysis and many suggested interpretations.
The painting also exists in a later version, which is in the possession of the Munch Museum.
MUNCH, Edvard
Edvard Munch is a Norwegian Symbolist-Expressionism painter, whose intense, evocative
treatment of psychological and emotional themes was a major influence on the development of
Expressionism in the early 20th century.
Munch is acclaimed to be the greatest artist of Norway and a father of Expressionism. Munch's
art is now considered a significant force in modern art. His art is simple, direct, and vigorous in
style, yet powerful in essence and in subject matter. Munch's art works penetrate beyond
external appearances to the inner conditions of the subjects he painted. Munch's subject matter
is symbolist in content, depicting a state of mind rather than an external reality.
The purpose of Expressionism and Symbolism is to show emotions that the artist feels in
hopes that the viewer will be stirred and feel them as well. The artist is not concerned with
reality as it appears but with its inner nature and with the emotions aroused by the subject. To
achieve these ends, the subject is frequently exaggerated, distorted, or otherwise altered in
order to stress the emotional experience in its most intense and concentrated form. Interested
in portraying not a random slice of reality, but situations with emotional content and expressive
energy, Munch carefully calculated his compositions to create a tense atmosphere.

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MUNCH, Edvard, Featured Paintings in Detail (1)

  • 2. MUNCH, Edvard The Scream 1893 Oil, tempera & pastel on cardboard, 91 × 73.5 cm The National Gallery, Oslo
  • 3. MUNCH, Edvard The Scream (detail) 1893 Oil, tempera & pastel on cardboard, 91 × 73.5 cm The National Gallery, Oslo
  • 4. MUNCH, Edvard The Scream (detail) 1893 Oil, tempera & pastel on cardboard, 91 × 73.5 cm The National Gallery, Oslo
  • 5. MUNCH, Edvard The Scream (detail) 1893 Oil, tempera & pastel on cardboard, 91 × 73.5 cm The National Gallery, Oslo
  • 6. MUNCH, Edvard The Scream (detail) 1893 Oil, tempera & pastel on cardboard, 91 × 73.5 cm The National Gallery, Oslo
  • 9. MUNCH, Edvard Madonna 1894 Oil on canvas, 68.5 x 90 cm The Munch Museum, Oslo
  • 10. MUNCH, Edvard Madonna (detail) 1894 Oil on canvas, 68.5 x 90 cm The Munch Museum, Oslo
  • 11. MUNCH, Edvard Madonna (detail) 1894 Oil on canvas, 68.5 x 90 cm The Munch Museum, Oslo
  • 13. MUNCH, Edvard Death In The Sickroom 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 14. MUNCH, Edvard Death In The Sickroom (detail) 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 15. MUNCH, Edvard Death In The Sickroom (detail) 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 16. MUNCH, Edvard Death In The Sickroom (detail) 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 17. MUNCH, Edvard Death In The Sickroom (detail) 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 18. MUNCH, Edvard Death In The Sickroom (detail) 1893 Oil on canvas, 160 x 134.5 cm The Munch Museum, Oslo
  • 20. MUNCH, Edvard Anxiety 1894 Oil on canvas, 74 x 94 cm The Munch Museum, Oslo
  • 21. MUNCH, Edvard Anxiety (detail) 1894 Oil on canvas, 74 x 94 cm The Munch Museum, Oslo
  • 22. MUNCH, Edvard Anxiety (detail) 1894 Oil on canvas, 74 x 94 cm The Munch Museum, Oslo
  • 23. MUNCH, Edvard Anxiety (detail) 1894 Oil on canvas, 74 x 94 cm The Munch Museum, Oslo
  • 24. MUNCH, Edvard Anxiety (detail) 1894 Oil on canvas, 74 x 94 cm The Munch Museum, Oslo
  • 26. MUNCH, Edvard Golgatha 1900 Oil on canvas, 80x120 cm The Munch Museum, Oslo
  • 27. MUNCH, Edvard Golgatha (detail) 1900 Oil on canvas, 80x120 cm The Munch Museum, Oslo
  • 28. MUNCH, Edvard Golgatha (detail) 1900 Oil on canvas, 80x120 cm The Munch Museum, Oslo
  • 29. MUNCH, Edvard Golgatha (detail) 1900 Oil on canvas, 80x120 cm The Munch Museum, Oslo
  • 30. cast MUNCH, Edvard Featured Paintings in Detail (1) images and text credit www. Music wav. created olga.e. thanks for watching oes
  • 31. MUNCH, Edvard The Scream 1893 The National Gallery, Oslo The Scream is the best known and most frequently reproduced of all Munch’s motifs. With its expressive colours, its flowing lines and striking overall effect, its appeal is universal. Despite radical simplification, the landscape in the picture is recognisable as the Kristiania Fjord seen from Ekeberg, with a broad view over the fjord, the town and the hills beyond. In the background to the left, at the end of the path with the balustrade that cuts diagonally across the picture, we see two strolling figures, often regarded as two friends whom Munch mentions in notes relating to the picture. But the figure in the foreground is the first to capture the viewer’s attention. Its hands are held to its head and its mouth is wide open in a silent scream, which is amplified by the undulating movement running through the surrounding landscape. The figure is ambiguous and it is hard to say whether it is a man or a woman, young or old – or even if it is human at all.As with many of Munch’s pictures, it is assumed that here as well his starting point was private feelings and experience. The Scream was first exhibited at Munch’s solo exhibition in Berlin in 1893. It was a central element in “The Frieze of Life”, and has been the theme of probing analysis and many suggested interpretations. The painting also exists in a later version, which is in the possession of the Munch Museum.
  • 32. MUNCH, Edvard Edvard Munch is a Norwegian Symbolist-Expressionism painter, whose intense, evocative treatment of psychological and emotional themes was a major influence on the development of Expressionism in the early 20th century. Munch is acclaimed to be the greatest artist of Norway and a father of Expressionism. Munch's art is now considered a significant force in modern art. His art is simple, direct, and vigorous in style, yet powerful in essence and in subject matter. Munch's art works penetrate beyond external appearances to the inner conditions of the subjects he painted. Munch's subject matter is symbolist in content, depicting a state of mind rather than an external reality. The purpose of Expressionism and Symbolism is to show emotions that the artist feels in hopes that the viewer will be stirred and feel them as well. The artist is not concerned with reality as it appears but with its inner nature and with the emotions aroused by the subject. To achieve these ends, the subject is frequently exaggerated, distorted, or otherwise altered in order to stress the emotional experience in its most intense and concentrated form. Interested in portraying not a random slice of reality, but situations with emotional content and expressive energy, Munch carefully calculated his compositions to create a tense atmosphere.