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Great Art Explained, The Scream: Great Art Explained (1)

The Scream: Great Art Explained (1)

this video is sponsored by Bright Cellars. Offer below, details at the end

Under a blood-red sky a terrifying figure with a skull-like face is staring out at us.

And it appears to be screaming in anguish. Edvard Munch's "The Scream", one of the most famous

images in the history of art has become for us, a universal symbol of angst and anxiety.

Europe was at the birth of the modern era when he painted Ths Scream

and the image reflects the intense anxieties that troubled the world at this time. Anxieties

which Edvard Munch himself found overwhelming. The figure is in fact, not screaming at all.

Rather it is holding its hands over its ears to block out the scream.

Between 1863 when Munch was born and the years before the first world war

European cities were going through truly exceptional changes. Industrialisation and economic

shifts brought fear, obsessions, diseases, political unrest and radicalism. Questions were being raised

about society and the changing role of man within it. About our psyche, our social responsibilities,

and most radical of all - about the existence of God. The rich were getting richer, but in Christiania

(now Oslo) living and working conditions were as bad as ever, a major cause of death and disease.

Munch himself would endure a life ravaged by madness, sickness and death. His mother

and his sister both died of Tuberculosis. His father and grandfather suffered from depression,

and another sister Laura from Schizophrenia. His only brother would later die of pneumonia.

Always a sickly child himself, Munch turned to drawing to keep himself occupied in his sick bed.

When he later decided to become an artist his father, a fundamental Christian, gave him no support

as he considered the profession "unholy". He told his son that the death of his mother and sister

was "divine punishment" for their sins and his traumatic childhood never left him as an adult.

This would have a lasting effect on Munch's work.

His early paintings were grounded in realism, but in 1884 he joined Christiania's bohemian circle,

which was led by the anarchist writer Hans Jæger. Jæger encouraged Munch to reject religion, break

with bourgeois principles and morals, and move away from realism to paint his own emotional

and psychological state. A powerful painting dating from this period drew on the death of

his sister and mother. It is hard now to imagine the outrage it caused but the bourgeois Norwegians

despised the rough brushstrokes, scratched surface and the deep melancholy of the piece.

The painting and the ensuing scandal would set the tone for his future work.

Munch was looking outside of provincial Christiania, and on a short trip to Paris

in 1885, he had the chance to see the revolutionary work of the Impressionists.

Their use of colour and form was a revelation for the young artist. Munch was always loathe

to admit that he was influenced by any artists, but here we can compare Monet's solitary figure

lost in thought, with Munch's own later composition whereas Monet's paintings are a study of light on

the exterior, Munch is exploring the interior life, and already shows a preoccupation with loneliness

and angst. The years in Paris were his experimental years when Munch was finding his style, and in 1889

he returned to Paris to study for three years. The Eiffel tower had just been completed, the

post-impressionists were becoming established, and Vincent van Gogh had just painted "The Starry Night".

Van Gogh's expressive and emotional brushwork deeply influenced Munch as did his use of colour.

Munch understood that van Gogh's posthumous fame was thanks to a combination of his paintings

and his tragic personal story, and later Munch was not averse to marketing himself as a mad genius,

which he understood would play an important role in his art.

Mostly he was fascinated by Paul Gauguin and the symbolists, whose ideas he would expand on.

Gauguin's use of heavy outline simplified shapes and solid blocks of colour

would influence Munch's style. He would later adopt the bold graphic outlines of Gauguin,

Van Gogh and Henri de Toulouse Lautrec, whose posters were on the streets of Paris when Munch arrived.

The young artist was like a sponge, soaking up painting styles, ideas, and motifs from different

artists. Sometimes in a more obvious ways - and like most artists of this period he experimented with

"Pointillism". What really interested him about the post-impressionists was their rejection of realism

in favor of absolute truth through their own emotional experience and imagination.

The unique thing about Munch was how he would take these formal tools and ideas from French painting

and then combine them with a northern sensibility, more concerned with melancholy.

In 1892, he was invited to Berlin where these psychological insights would NOT be welcome.

Munch was invited to put on a solo show in Berlin, but the organisers had no first-hand experience

of his work. Norwegian paintings of fjords were very fashionable and they were expecting this.

The Germans thought his work was too raw, too brutal, and too unfinished. The show was so controversial

that it would be shut down after a week. Munch however, was delighted with the scandal, as his

notoriety ensured he became an overnight sensation. In Germany. In Berlin he was friends with the

Swedish writer August Strindberg and, as so often with Munch, it was literature he looked to for

inspiration to explain universal human experiences. We can see his work in this period as moving away

from painting one image and more towards a series of works, that can be viewed in literary terms.

The masterful series he produced in the 1890s. "The Frieze of Life" was intended to be seen as

a poem of life, love and death. And it would be his life's major work. The series started with six but

eventually grew to a total of 22 works - the scream would be just one of them - The Impressionists

had of course worked in series, but more as an observation on light and atmospheric conditions.

Whereas Munch was working this way to create a total work of art (or in german a "Gesamtkunstwerk")

Munch split the works into four themes and when we place them together as he would have, we can

see he was trying to tell a "story". Here we have "The seeds of love", "the passing of love", "anxiety'

and "death". Around this time Munch started to produce multiple versions of many of his paintings.

There was a practical reason behind it, his idea was to keep the "Frieze of Life" together and eventually

donate them as a whole to a museum in Oslo, when he died. So when he sold a painting he then produced

a copy to replace it, to avoid breaking up the group. The more popular the painting

the more copies there are in existence. On top of this, he had a pathological hatred of parting

with his paintings (which he called my children). It was as if he couldn't bear to part with his past.

On the 22nd of January 1892, Munch wrote in his diary "I was walking

down the road with two friends, when the sun set. Suddenly the sky turned as red as blood.

My friends walked on, I stood there quaking with angst and I felt as though a vast endless

scream passed through nature". What is debatable is whether those screams were real or psychological.

The idea of the figure in the landscape and man's relationship to nature, is something

that Munch draws on from the romantic tradition of the early 19th century.

But The Scream focuses on the inner psychology of man - in relation to nature. A painting he did just

a year before the scream is a rather similar image, but with a small crowd of ghostly figures staring

out at us. The painting conveys urban alienation, the feeling that you can be all alone in a crowd.

And Munch's figure in The Scream expresses similar ideas about anxiety and alienation. The disturbing

figures are a reoccurring theme for Munch and he used the same setting to produce other paintings.

This painting also has the same red and yellow sky, mountains and fjords in the background,

but instead of the skeletal figure staring out at us there is a self-portrait of Munch.

The composition itself is simple, we can divide the painting into the bridge, the fjords and the sky.

The main figure is curved and broadens out to blend into the background. The two figures

(his friends in the diary entry) are vertical unlike the main figure.

This with the sharp diagonals of the bridge, anchor us in the real world. The background

suggests the world is dissolving into chaos and pre-figures abstract painting.

The tiny figures are deep in conversation and despite the chaos they are oblivious.

Munch underlines their emotional distance from the protagonist by placing them at a physical distance,

walking away on an absolutely straight road. The painting may look as if it is done quickly,

but Munch would go through meticulous preparation. Here we see the development of the lone figure as

it goes from the far distance to the foreground. In his diary sketch, the violent red sky develops

and written to the side is his description of that walk with his friends. The self-portrait

will give way to the figure we know. Note in this sketch, one of the two background figures

is not yet walking away. If we take the two figures away completely the scene is not as claustrophobic,

and it changes the atmosphere. Every element in the painting is carefully planned - and even after all

this planning Munch made last-minute changes, as we see with this initial sketch on the reverse.

This 1893 painting is probably his first version of "The Scream". It is mixed media - oil tempera and pastel.

This one, also dated 1893, is in pastel.

Auctioneer: "107 billion dollars - sold!"

The only one in private hands. And this is a later copy from 1910 also tempers. All the paintings are

done on unprimed cardboard. Munch often worked with cheap material, first because he couldn't afford

canvas, and later because the texture suited his aesthetic. They were often glued onto wooden boards

as we can see here. A treatment no longer used. He would use diluted paint, a technique he picked

up from Toulouse-Lautrec, and he deliberately left paintings unfinished as a sort of anti-art statement

He wanted the cardboard to show through the various diluted layers of pastels, to allow

the process to show. At times he has violently stabbed on paint with the back of his brush.

He never varnished his work as he liked the matte finish, insisting varnish "killed a painting dead".

Then he had something which he called "the horse cure". This was basically leaving his paintings

outside in the garden, in all weathers to "fend for themselves". He thought his paintings should have an

organic life and he wanted them to look aged. Here we can see one of the many stains on the painting,

where Munch - in this case - spilled some wax on it. All of these add up to a nightmare for conservators.

TV NEWS: "Two or three armed, masked men burst into the Munch Museum in Oslo, in broad daylight and took

the paintings, as visitors watched". One of the ironies about the scream is that

when it was recovered after being stolen it was quickly jumped upon by a small army of conservators.

Munch however would have preferred they left it damaged - as part of its ongoing life.

I think it is interesting, to look at possible inspiration. Scientists have linked the sky's unnatural colours

to volcanic dust from the eruption of Krakatoa in 1883, which generated incredible sunsets in Europe

for months after. They have also linked it to a phenomenon known as "Nacreous cloud formations",

common in Norway during winter, which is when Munch painted The Scream. A possible inspiration for the

The Scream: Great Art Explained (1) El Grito: El gran arte explicado (1) The Scream: Wielka sztuka wyjaśniona (1)

this video is sponsored by Bright  Cellars. Offer below, details at the end Este video está patrocinado por Bright Cellars. Oferta en la descripción, detalles al final. Cette vidéo est sponsorisée par Bright Cellars. Offre en description, les détails en fin de vidéo. Deze video is gesponsord door Bright Cellars. Aanbieding hieronder, details aan het einde.

Under a blood-red sky a terrifying figure  with a skull-like face is staring out at us. Debajo de un cielo rojo sangre, un aterrador rostro con forma de calavera mira hacia nosotros. Sous un ciel rouge sang, un personnage au visage squelettique nous fixe. Onder een bloedrode lucht staart een angstaanjagende figuur met een schedelachtig gezicht ons aan. 血红的天空下 一个状若骷髅的可怕人物正盯着我们 血红的天空下 一个状若骷髅的可怕人物正盯着我们

And it appears to be screaming in anguish.  Edvard Munch's "The Scream", one of the most famous Y parece que está gritando de agonía. "El grito" de Edvard Munch, En het lijkt te schreeuwen van angst. Edvard Munch's "De Schreeuw",

images in the history of art has become for  us, a universal symbol of angst and anxiety. una de las imágenes más famosas en la historia del arte se ha convertido en un símbolo universal de angustia y ansiedad. est devenu un symbole universel d’angoisse. een van de beroemdste beelden in de kunstgeschiedenis, is voor ons een universeel symbool geworden van angst en bezorgdheid.

Europe was at the birth of the  modern era when he painted Ths Scream Europa estaba en el comienzo de la era moderna cuando Munch pintó El grito, L’Europe entrait dans la modernité quand il a peint Le Cri. Europa stond aan de wieg van de moderne tijd toen hij De Schreeuw schilderde 这幅画创作时 欧洲刚刚进入现代 这幅画创作时 欧洲刚刚进入现代

and the image reflects the intense anxieties  that troubled the world at this time. Anxieties y la imagen refleja la intensa ansiedad que preocupaba al mundo en ese momento.

which Edvard Munch himself found overwhelming.  The figure is in fact, not screaming at all. Ansiedad que el mismo Edvard Munch sintió abrumadora. La figura, en efecto, no está gritando en absoluto. En fait, le personnage ne crie pas du tout. De figuur schreeuwt eigenkijk helemaal niet. 事实上 这个人物不是在呐喊 事实上 这个人物不是在呐喊

Rather it is holding its hands over  its ears to block out the scream.

Between 1863 when Munch was born and  the years before the first world war Entre 1863, cuando nació Munch, y los años anteriores a la Primera Guerra Mundial, Entre 1863, quand Munch est né et les années précédant la Première Guerre mondiale, Tussen de geboorte van Munch in 1863 en de jaren voor de eerste wereldoorlog 从蒙克出生的1863年 到第一次世界大战前的几年 从蒙克出生的1863年 到第一次世界大战前的几年

European cities were going through truly  exceptional changes. Industrialisation and economic les villes européennes traversaient des changements exceptionnels. L’industrialisation et les changements économiques ont apporté 欧洲城市经历了巨大变革 工业化和经济转型 欧洲城市经历了巨大变革 工业化和经济转型

shifts brought fear, obsessions, diseases, political  unrest and radicalism. Questions were being raised

about society and the changing role of man within  it. About our psyche, our social responsibilities, Preguntas sobre nuestra psiquis, nuestras responsabilidades sociales, Sur notre psychisme, nos responsabilités sociales, Over onze psyche, onze sociale verantwoordelijkheden, 质疑我们的心理 我们的社会责任 质疑我们的心理 我们的社会责任

and most radical of all - about the existence of God.  The rich were getting richer, but in Christiania

(now Oslo) living and working conditions were as  bad as ever, a major cause of death and disease. una de las principales causas de muerte y enfermedad. une cause majeure de mortalité et de maladie. een belangrijke oorzaak van overlijden en ziekte. 是死亡和疾病的一大原因 是死亡和疾病的一大原因

Munch himself would endure a life ravaged  by madness, sickness and death. His mother El propio Munch afrontaría una vida devastada por la locura, la enfermedad y la muerte. Munch zelf zou een leven doorstaan dat geteisterd werd door waanzin, ziekte en dood. 蒙克本人的一生 也充斥着疯狂、疾病和死亡 蒙克本人的一生 也充斥着疯狂、疾病和死亡

and his sister both died of Tuberculosis. His  father and grandfather suffered from depression, Son père et son grand-père souffraient de dépression. Zijn moeder en zijn zus stierven allebei aan tuberculose. Zijn vader en grootvader leden aan depressies, 他的母亲和姐姐都死于肺结核 他的父亲和祖父饱受抑郁之苦 他的母亲和姐姐都死于肺结核 他的父亲和祖父饱受抑郁之苦

and another sister Laura from Schizophrenia.  His only brother would later die of pneumonia. Su único hermano moriría más tarde de neumonía. Son autre sœur Laura de schizophrénie. Son unique frère est mort de pneumonie. en een andere zus, Laura, aan schizofrenie. Zijn enige broer zou later sterven aan een longontsteking. 妹妹劳拉则患有精神分裂症 他唯一的哥哥后来也死于肺炎 妹妹劳拉则患有精神分裂症 他唯一的哥哥后来也死于肺炎

Always a sickly child himself, Munch turned to  drawing to keep himself occupied in his sick bed. Siendo siempre un niño enfermizo, Munch recurría al dibujo para mantenerse ocupado durante períodos de reposo. Enfant malade, Munch s’est tourné vers le dessin pour s’occuper dans son lit de malade. Zelf altijd een ziekelijk kind, wendde Munch zich tot tekenen om zich bezig te houden in zijn ziekbed. 自小体弱多病 蒙克用绘画打发待在病床上的时间 自小体弱多病 蒙克用绘画打发待在病床上的时间

When he later decided to become an artist his  father, a fundamental Christian, gave him no support Cuando posteriormente decidió convertirse en un artista, su padre, fundamentalmente cristiano, se negó a apoyarlo, Quand il a décidé de devenir un artiste, son père, catholique intégriste, ne l’a pas soutenu

as he considered the profession "unholy". He told  his son that the death of his mother and sister ya que consideraba profana a la profesión. Le dijo a su hijo que las muertes de su madre y su hermana car sa profession était “impie”. Il a dit à son fils que la mort de sa mère et de sa sœur 他告诉儿子 他母亲和姐姐的死 他告诉儿子 他母亲和姐姐的死

was "divine punishment" for their sins and his  traumatic childhood never left him as an adult. était une “punition divine” pour leurs péchés. Son enfance traumatisante ne l’a jamais quitté à l'âge adulte. 是对她们罪恶的"神罚" 他创伤性的童年在成年后仍挥之不去 是对她们罪恶的"神罚" 他创伤性的童年在成年后仍挥之不去

This would have a lasting effect on Munch's work. Esto tendría un efecto duradero en el trabajo de Munch. Cela a eu un effet durable sur l'œuvre de Munch. Dit zou een blijvend effect hebben op het werk van Munch. 对蒙克的作品产生了持久的影响 对蒙克的作品产生了持久的影响

His early paintings were grounded in realism, but  in 1884 he joined Christiania's bohemian circle, Son travail de jeunesse se basait sur le réalisme. Mais en 1884, il a rejoint le cercle bohémien de Christiania Zijn vroege schilderijen waren gebaseerd op realisme, maar in 1884 trad hij toe tot de bohemienkring van Christiania, 他早期的画作根植现实主义 但在1884年 他加入了克里斯蒂安尼亚的波希米亚圈子 他早期的画作根植现实主义 但在1884年 他加入了克里斯蒂安尼亚的波希米亚圈子

which was led by the anarchist writer Hans Jæger.  Jæger encouraged Munch to reject religion, break 由无政府主义作家汉斯·耶格领导 耶格鼓励蒙克抛弃宗教 由无政府主义作家汉斯·耶格领导 耶格鼓励蒙克抛弃宗教

with bourgeois principles and morals, and move  away from realism to paint his own emotional y la moral de la burguesía, y se aleje del realismo en busca de pintar su propio

and psychological state. A powerful painting  dating from this period drew on the death of estado emocional y psicológico. Una poderosa pintura que data de este período Une peinture puissante datant de cette période puise 该时期一幅动人的画作 该时期一幅动人的画作

his sister and mother. It is hard now to imagine  the outrage it caused but the bourgeois Norwegians 以他姐姐和母亲的死为题材 现在很难想象它当时激起的众怒 资产阶级的挪威人十分鄙视 以他姐姐和母亲的死为题材 现在很难想象它当时激起的众怒 资产阶级的挪威人十分鄙视

despised the rough brushstrokes, scratched  surface and the deep melancholy of the piece. y la profunda melancolía de la pieza. la surface griffonnée et la profonde mélancolie de l'œuvre. het bekraste oppervlak en de diepe melancholie van het stuk. 它粗糙的笔触、擦损的表面 和其中的深切忧郁 它粗糙的笔触、擦损的表面 和其中的深切忧郁

The painting and the ensuing scandal  would set the tone for his future work. La pintura y el consecuente escándalo establecerían el tono para su obra futura. La peinture et le scandale qui s'ensuivit ont donné le ton pour son futur travail. Het schilderij en het daaruit voortvloeiende schandaal zouden de toon zetten voor zijn toekomstige werk. 这幅画和它引发的丑闻 为他今后的创作定下了基调 这幅画和它引发的丑闻 为他今后的创作定下了基调

Munch was looking outside of provincial  Christiania, and on a short trip to Paris

in 1885, he had the chance to see the  revolutionary work of the Impressionists. el trabajo revolucionario de los impresionistas. il a pu voir le travail révolutionnaire des Impressionnistes. kreeg hij de kans om het revolutionaire werk van de impressionisten te zien. 他有幸看到了印象派的革命性作品 他有幸看到了印象派的革命性作品

Their use of colour and form was a revelation  for the young artist. Munch was always loathe

to admit that he was influenced by any artists,  but here we can compare Monet's solitary figure 但在这里 可以将莫奈笔下沉思的孤独人物 但在这里 可以将莫奈笔下沉思的孤独人物

lost in thought, with Munch's own later composition  whereas Monet's paintings are a study of light on con una composición tardía de Munch. Mientras que las pinturas de Monet Alors que Monet étudie la lumière sur l’extérieur, 对比蒙克自己后来的作品 莫奈的画是对外部环境光线的描绘 对比蒙克自己后来的作品 莫奈的画是对外部环境光线的描绘

the exterior, Munch is exploring the interior life,  and already shows a preoccupation with loneliness Il est préoccupé par la solitude et l’angoisse. 蒙克则在探索内在生活 并已显示出对孤独和焦虑的关注 蒙克则在探索内在生活 并已显示出对孤独和焦虑的关注

and angst. The years in Paris were his experimental  years when Munch was finding his style, and in 1889

he returned to Paris to study for three years. The Eiffel tower had just been completed, the La Tour Eiffel venait d’être achevée. 当时埃菲尔铁塔刚刚建成 当时埃菲尔铁塔刚刚建成

post-impressionists were becoming established, and  Vincent van Gogh had just painted "The Starry Night". estableciendo, y Vincent Van Gogh había recién pintado "La noche estrellada". Les post-impressionnistes étaient établis. Van Gogh venait de peindre La Nuit étoilée. en Vincent van Gogh had net "De Sterrennacht" geschilderd. 后印象派开始确立 文森特·凡高刚刚画了《星空》 后印象派开始确立 文森特·凡高刚刚画了《星空》

Van Gogh's expressive and emotional brushwork  deeply influenced Munch as did his use of colour. L'expressivité passionnée de van Gogh a beaucoup influencé Munch. Son usage des couleurs aussi. Van Goghs expressieve en emotionele penseelvoering had een grote invloed op Munch, net als zijn kleurgebruik. 梵高富有表现力和情感的笔触 和他的色彩运用深深影响了蒙克 梵高富有表现力和情感的笔触 和他的色彩运用深深影响了蒙克

Munch understood that van Gogh's posthumous fame  was thanks to a combination of his paintings Munch begreep dat Van Goghs postume roem te danken was aan een combinatie van zijn schilderijen en zijn tragische persoonlijke verhaal

and his tragic personal story, and later Munch was  not averse to marketing himself as a mad genius, Plus tard, Munch ne fut pas opposé à l’image de génie fou. en later was Munch er niet vies van om zichzelf op de markt te brengen als een waanzinnig genie, 后来 蒙克也不排斥把自己以"疯子天才"为名营销 后来 蒙克也不排斥把自己以"疯子天才"为名营销

which he understood would play  an important role in his art. Il avait compris que ça allait jouer un rôle important dans son art. waarvan hij begreep dat het een belangrijke rol zou spelen in zijn kunst. 他清楚这对他的艺术也极为重要 他清楚这对他的艺术也极为重要

Mostly he was fascinated by Paul Gauguin and  the symbolists, whose ideas he would expand on. Principalmente, estaba fascinado por Paul Gauguin y los simbolistas, cuyas ideas luego ampliaría. Il était surtout fasciné par Paul Gauguin et les symbolistes, dont il a développé les idées. Hij was vooral gefascineerd door Paul Gauguin en de symbolisten, wiens ideeën hij zou uitbreiden. 他偏爱保罗·高更和象征主义画家 并从他们的点子出发 他偏爱保罗·高更和象征主义画家 并从他们的点子出发

Gauguin's use of heavy outline simplified  shapes and solid blocks of colour El uso de Gauguin de contornos gruesos, formas simplificadas y bloques de colores Les formes simplifiées aux contours marqués et les couleurs en bloc Gauguin's gebruik van zware, vereenvoudigde vormen en stevige kleurblokken zou de stijl van Munch beïnvloeden. 高更对浓厚轮廓、简单形状和纯色块的使用 高更对浓厚轮廓、简单形状和纯色块的使用

would influence Munch's style. He would later  adopt the bold graphic outlines of Gauguin, sólidos influenciarían al estilo de Munch. Más tarde adoptaría los marcados contornos 影响了蒙克的风格 他后来采用的明晰图形轮廓 影响了蒙克的风格 他后来采用的明晰图形轮廓

Van Gogh and Henri de Toulouse Lautrec, whose posters  were on the streets of Paris when Munch arrived. gráficos de Gauguin, Van Gogh y Henri de Toulouse-Lautrec, cuyos pósters se hallaban en las calles de París cuando llegó Munch. dont les affiches étaient dans Paris à l’arrivée de Munch. wiens posters in de straten van Parijs hingen toen Munch arriveerde. 源自高更、梵高和亨利·德·图卢兹-罗特列克 后者的海报在巴黎街头为蒙克所见 源自高更、梵高和亨利·德·图卢兹-罗特列克 后者的海报在巴黎街头为蒙克所见

The young artist was like a sponge, soaking up  painting styles, ideas, and motifs from different Le jeune artiste était une éponge s’imprégnant des styles, des idées et des motifs de différents artistes. De jonge kunstenaar was als een spons die schilderstijlen, ideeën en motieven van verschillende kunstenaars in zich opnam.

artists. Sometimes in a more obvious ways - and like  most artists of this period he experimented with

"Pointillism". What really interested him about the  post-impressionists was their rejection of realism Lo que realmente le interesaba de los postimpresionistas era su rechazo al c’était leur rejet du réalisme Wat hem echt interesseerde in de post-impressionisten was hun afwijzing van het realisme

in favor of absolute truth through their  own emotional experience and imagination. realismo en pos de una verdad absoluta a través de sus propias experiencias emocionales y su imaginación. au profit de la vérité absolue à travers leur propre imagination. ten gunste van de absolute waarheid door hun eigen emotionele ervaring en verbeeldingskracht. 拒绝现实主义 转而追求绝对真实 拒绝现实主义 转而追求绝对真实

The unique thing about Munch was how he would take  these formal tools and ideas from French painting Het unieke aan Munch was hoe hij deze formele gereedschappen en ideeën uit de Franse schilderkunst gebruikte 蒙克的独特之处 在于他从法国画中获取这些形式工具和想法 蒙克的独特之处 在于他从法国画中获取这些形式工具和想法

and then combine them with a northern  sensibility, more concerned with melancholy. más preocupada por la melancolía. plus soucieuse de la mélancolie. en ze vervolgens combineerde met een noordelijke gevoeligheid, meer bezig met melancholie. 又有更加关注忧郁的北部感性 二者融为一体 又有更加关注忧郁的北部感性 二者融为一体

In 1892, he was invited to Berlin where these  psychological insights would NOT be welcome. En 1892, fue invitado a Berlín, donde estas perspectivas psicológicas no serían bienvenidas. En 1892, il fut invité à Berlin où sa psychologie n’a PAS été la bienvenue. In 1892 werd hij naar Berlijn uitgenodigd, waar deze psychologische inzichten niet welkom zouden zijn. 1892年 他被邀请到柏林 在那里 这些心灵洞察可不受欢迎 1892年 他被邀请到柏林 在那里 这些心灵洞察可不受欢迎

Munch was invited to put on a solo show in Berlin,  but the organisers had no first-hand experience 蒙克被邀请在柏林举办个人画展 但组织者对他的作品没有直观经验 蒙克被邀请在柏林举办个人画展 但组织者对他的作品没有直观经验

of his work. Norwegian paintings of fjords were  very fashionable and they were expecting this. Las pinturas noruegas de fiordos estaban muy de moda, y esto era lo que esperaban. Ils s’attendaient à des peintures norvégiennes de fjords, très à la mode. Noorse schilderijen van fjorden waren erg in de mode en dat hadden ze verwacht. 当时挪威的峡湾画非常流行 他们期待着这样的画 当时挪威的峡湾画非常流行 他们期待着这样的画

The Germans thought his work was too raw, too brutal,  and too unfinished. The show was so controversial Los alemanes pensaron que su obra era demasiado cruda, demasiado brutal, y demasiado inconclusa. La exposición fue tan controversial

that it would be shut down after a week. Munch  however, was delighted with the scandal, as his Munch était ravi du scandale. Munch was echter opgetogen over het schandaal, 然而 蒙克却为这差评而高兴 然而 蒙克却为这差评而高兴

notoriety ensured he became an overnight sensation.  In Germany. In Berlin he was friends with the

Swedish writer August Strindberg and, as so often  with Munch, it was literature he looked to for Comme souvent avec Munch, il trouvait son inspiration dans la littérature 如往常一样 他从文学中寻找灵感 如往常一样 他从文学中寻找灵感

inspiration to explain universal human experiences.  We can see his work in this period as moving away Podemos ver su obra en este período como su distanciamiento de pintar 来解释人类的普遍经验 他这一时期的作品 来解释人类的普遍经验 他这一时期的作品

from painting one image and more towards a series  of works, that can be viewed in literary terms. una sola imagen para avanzar hacia una serie de pinturas que pueden observarse en términos literarios. qui peuvent être vues comme de la littérature. die in literaire termen kunnen worden bekeken. 逐渐不只是画一幅画 而转向可以从文学角度看待的系列作品 逐渐不只是画一幅画 而转向可以从文学角度看待的系列作品

The masterful series he produced in the 1890s.  "The Frieze of Life" was intended to be seen as

a poem of life, love and death. And it would be his  life's major work. The series started with six but

eventually grew to a total of 22 works - the scream  would be just one of them - The Impressionists El grito siendo solo una de ellas.

had of course worked in series, but more as an  observation on light and atmospheric conditions. Los impresionistas también habían, por supuesto, trabajado en series, pero más como una observación de la luz y de las condiciones atmosféricas. mais pour l'observation de la lumière et de l’atmosphère. maar meer als een observatie van licht en atmosferische omstandigheden. 但更多是对不同光照和气象的观察 但更多是对不同光照和气象的观察

Whereas Munch was working this way to create a  total work of art (or in german a "Gesamtkunstwerk") Por otro lado, Munch estaba trabajando así para crear una obra de arte total, o Gesamtkunstwerk en alemán. Mais Munch travaillait comme ça pour créer une oeuvre d’art totale ("Gesamtkunstwerk" en allemand). Terwijl Munch op deze manier werkte om een totaalkunstwerk te creëren (of in het Duits een "Gesamtkunstwerk"), 蒙克则是以此来创作一件完整的艺术作品 即德语中的"总体艺术作品" 蒙克则是以此来创作一件完整的艺术作品 即德语中的"总体艺术作品"

Munch split the works into four themes and when  we place them together as he would have, we can Munch dividió las obras en cuatro temas, y cuando las reunimos tal como lo haría él, Munch les a séparé en 4 thèmes, en les plaçant comme il aurait voulu, Munch splitste de werken op in vier thema's en wanneer we ze bij elkaar plaatsen zoals hij zou hebben gedaan, 蒙克将作品分成四个主题 像他那样把它们组合起来 蒙克将作品分成四个主题 像他那样把它们组合起来

see he was trying to tell a "story". Here we have  "The seeds of love", "the passing of love", "anxiety' on voit qu’il voulait raconter une “histoire”. Voilà “Les graines de l’amour”, “La disparition de l’amour”, “L’anxiété” kunnen we zien dat hij een verhaal probeerde te vertellen. Hier hebben we "De zaden van liefde", "het voorbijgaan van liefde", "angst" 能看出他想讲述一个"故事" 能分成"爱的萌生" "爱的消逝" "焦虑 能看出他想讲述一个"故事" 能分成"爱的萌生" "爱的消逝" "焦虑

and "death". Around this time Munch started to produce  multiple versions of many of his paintings. et “La mort”. À cette période, Munch a commencé à produire plusieurs versions de beaucoup de ses peintures. en "dood". Rond deze tijd begon Munch meerdere versies van veel van zijn schilderijen te produceren. 和 "死亡" 在这一时期 蒙克开始为他的许多画作画了多个版本 和 "死亡" 在这一时期 蒙克开始为他的许多画作画了多个版本

There was a practical reason behind it, his idea was to  keep the "Frieze of Life" together and eventually La raison pratique était qu’il voulait garder La Frise de la vie groupée 背后有一个现实原因 他想让"生命的饰带"保持完整 背后有一个现实原因 他想让"生命的饰带"保持完整

donate them as a whole to a museum in Oslo, when he  died. So when he sold a painting he then produced pour la donner au complet à un musée d’Oslo à sa mort. Quand il vendait une peinture, il produisait alors une copie

a copy to replace it, to avoid breaking up  the group. The more popular the painting

the more copies there are in existence. On top  of this, he had a pathological hatred of parting

with his paintings (which he called my children).  It was as if he couldn't bear to part with his past. Comme s’il ne pouvait pas supporter de se séparer de son passé. Het was alsof hij het niet kon verdragen afstand te doen van zijn verleden. 就像他无法忍受与过去分离 就像他无法忍受与过去分离

On the 22nd of January 1892, Munch  wrote in his diary "I was walking El 22 de enero de 1892, Munch escribió en su diario: Le 22 janvier 1892, Munch écrit dans son journal: Op 22 januari 1892 schreef Munch in zijn dagboek: 1892年1月22日 蒙克在日记中写道 1892年1月22日 蒙克在日记中写道

down the road with two friends, when the sun  set. Suddenly the sky turned as red as blood. "Estaba caminando por la calle con dos amigos cuando se puso el sol. De repente, el cielo se tornó tan rojo como la sangre. "Je marchais sur la route avec deux amis quand le soleil se coucha. Tout à coup, le ciel est devenu aussi rouge que le sang. "Ik liep met twee vrienden over straat toen de zon onderging. Plotseling werd de lucht zo rood als bloed. "当时正当日落 我和两位朋友走在路上 突然间 天空变得像血一样红 "当时正当日落 我和两位朋友走在路上 突然间 天空变得像血一样红

My friends walked on, I stood there quaking  with angst and I felt as though a vast endless

scream passed through nature". What is debatable is  whether those screams were real or psychological. Lo debatible es si esos gritos fueron reales o psicológicos. On peut débattre de la réalité de ces cris. Wat betwistbaar is, is of die kreten echt of psychologisch waren. 值得商榷的是 呐喊是真实的还是心理作用 值得商榷的是 呐喊是真实的还是心理作用

The idea of the figure in the landscape and  man's relationship to nature, is something La idea de la figura en el paisaje y la relación del hombre con la naturaleza L’idée du personnage dans le paysage et de la relation de l’homme à la nature Het idee van de figuur in het landschap en de relatie van de mens tot de natuur, 用景观中的人物 表达人与自然的关系 用景观中的人物 表达人与自然的关系

that Munch draws on from the romantic  tradition of the early 19th century. es algo que Munch adquiere de la tradición romántica de principios del siglo XIX, est une chose que Munch puise dans la tradition romantique du XIXème. is iets dat Munch put uit de romantische traditie van het begin van de 19e eeuw. 是蒙克借鉴了 19世纪初的浪漫主义传统 是蒙克借鉴了 19世纪初的浪漫主义传统

But The Scream focuses on the inner psychology of  man - in relation to nature. A painting he did just

a year before the scream is a rather similar image,  but with a small crowd of ghostly figures staring mais avec une petite foule de personnages fantomatiques qui nous fixe. maar met een kleine menigte spookachtige figuren die naar ons staren.

out at us. The painting conveys urban alienation,  the feeling that you can be all alone in a crowd. le sentiment de solitude dans la foule. Het schilderij straalt stedelijke vervreemding uit, het gevoel dat je helemaal alleen kunt zijn in een menigte 在人群中却依旧孤独的感觉 在人群中却依旧孤独的感觉

And Munch's figure in The Scream expresses similar  ideas about anxiety and alienation. The disturbing Y la figura de Munch en El grito expresa ideas similares acerca de la ansiedad y la alienación.

figures are a reoccurring theme for Munch and he  used the same setting to produce other paintings. Las perturbadoras figuras son un tema recurrente para Munch, que usó el mismo escenario para producir otras pinturas. Et il a utilisé le même cadre pour d’autres peintures. en hij gebruikte dezelfde setting om andere schilderijen te maken. 他也用相同布景创作其他画作 他也用相同布景创作其他画作

This painting also has the same red and yellow  sky, mountains and fjords in the background, Este cuadro tiene el mismo cielo rojo y amarillo, montañas y fiordos en el fondo, Cette peinture a le même ciel jaune et rouge, les montagnes et les fjords en arrière-plan, Ook dit schilderij heeft dezelfde rood-gele lucht, bergen en fjorden op de achtergrond, 这幅画也同样有红黄相间的天空 背景中的山脉和峡湾 这幅画也同样有红黄相间的天空 背景中的山脉和峡湾

but instead of the skeletal figure staring  out at us there is a self-portrait of Munch. pero en lugar de la figura esquelética mirándonos fijo, hay un autorretrato de Munch. mais au lieu du personnage squelettique qui nous fixe, se trouve un auto-portrait de Munch. maar in plaats van de skeletachtige figuur die naar ons staart, is er een zelfportret van Munch. 这幅画中没有瞠目的瘦削形象 而是蒙克的自画像 这幅画中没有瞠目的瘦削形象 而是蒙克的自画像

The composition itself is simple, we can divide the  painting into the bridge, the fjords and the sky. La composition est simple. La peinture est partagée entre le pont, les fjords et le ciel. De compositie zelf is eenvoudig, we kunnen het schilderij verdelen in de brug, de fjorden en de lucht. 构图本身很简单 可以将这幅画分为桥梁、峡湾和天空 构图本身很简单 可以将这幅画分为桥梁、峡湾和天空

The main figure is curved and broadens out  to blend into the background. The two figures La figura principal es curva y se expande para mezclarse con el fondo.

(his friends in the diary entry) are  vertical unlike the main figure. Las dos figuras, sus amigos en la entrada de su diario, son verticales, a diferencia contrairement à la figure principale. 笔直站着 与主角不同 笔直站着 与主角不同

This with the sharp diagonals of the bridge,  anchor us in the real world. The background de la figura principal. Esto, junto con las diagonales agudas del puente, nos ancla al mundo real. Dit met de scherpe diagonalen van de brug, verankeren ons in de echte wereld.

suggests the world is dissolving into  chaos and pre-figures abstract painting. El fondo sugiere que el mundo se está disolviendo en el caos, y es un presagio de la pintura abstracta. et préfigure la peinture abstraite. De achtergrond suggereert dat de wereld oplost in chaos en prefigureert abstracte schilderkunst. 还预示了抽象画 还预示了抽象画

The tiny figures are deep in conversation  and despite the chaos they are oblivious. Las figuras pequeñas están en una conversación profunda, y, a pesar del caos, no desvían su atención. Les minuscules figures sont plongées dans leur discussion, insouciantes face au chaos. De kleine figuren zijn diep in gesprek en ondanks de chaos zijn ze onbewust. 远处的小人交谈着 他们对周遭混乱浑然不觉 远处的小人交谈着 他们对周遭混乱浑然不觉

Munch underlines their emotional distance from the  protagonist by placing them at a physical distance, Munch onderstreept hun emotionele afstand tot de hoofdpersoon door ze op een fysieke afstand te plaatsen 蒙克通过将他们置于一条笔直的路上 还在越走越远 强调了 蒙克通过将他们置于一条笔直的路上 还在越走越远 强调了

walking away on an absolutely straight road.  The painting may look as if it is done quickly, El cuadro parece estar hecho rápidamente, sin embargo, La peinture semble être faite en vitesse. weglopend op een absoluut rechte weg. Het schilderij ziet er misschien uit alsof het snel klaar is, 他们与主人公的情感距离 这幅画看起来仿佛一蹴而就 他们与主人公的情感距离 这幅画看起来仿佛一蹴而就

but Munch would go through meticulous preparation.  Here we see the development of the lone figure as Munch habría realizado una preparación meticulosa con anterioridad. Aquí vemos el desarrollo de la figura solitaria a medida que es posicionada Mais Munch passait par une préparation méticuleuse. Ici, on voit le développement de la figure solitaire 但蒙克做了细致的准备 这里能看到孤独人物 但蒙克做了细致的准备 这里能看到孤独人物

it goes from the far distance to the foreground. In his diary sketch, the violent red sky develops qui part du fond jusqu’au premier plan. Dans ses esquisses, le ciel rouge se développe. In zijn dagboekschets ontwikkelt zich de gewelddadige rode lucht 从远处到前景的演化 在他的日记素描中 血红天空的演化 从远处到前景的演化 在他的日记素描中 血红天空的演化

and written to the side is his description of  that walk with his friends. The self-portrait de esa caminata con sus amigos.

will give way to the figure we know. Note in  this sketch, one of the two background figures El autorretrato anticipa la figura que conocemos. Es importante notar que en este boceto una de las dos figuras del fondo

is not yet walking away. If we take the two figures  away completely the scene is not as claustrophobic, En enlevant les deux figures, la scène devient moins claustrophobique

and it changes the atmosphere. Every element in the  painting is carefully planned - and even after all Cada elemento de la pintura fue cuidadosamente planeado, e incluso después

this planning Munch made last-minute changes, as  we see with this initial sketch on the reverse. de toda esta preparación, Munch realizó cambios a último minuto, como vemos con este boceto inicial en el reverso. comme sur cette esquisse initiale à l’envers. zoals we zien bij deze eerste schets op de achterkant. 从背面这张最初的草稿可见一斑 从背面这张最初的草稿可见一斑

This 1893 painting is probably his first version of "The Scream".  It is mixed media - oil tempera and pastel. Esta pintura de 1893 es probablemente su primera versión de El grito. Es de técnica mixta: óleo, témpera y pastel. Cette peinture de 1893 est probablement sa première version du Cri. C’est de la tempera, de l’huile et du pastel. Dit schilderij uit 1893 is waarschijnlijk zijn eerste versie van "De Schreeuw". Het is mixed media - olietempera en pastel. 这幅1893年的画可能是他的第一版《呐喊》 混合多种画法--油彩 蛋彩和粉彩 这幅1893年的画可能是他的第一版《呐喊》 混合多种画法--油彩 蛋彩和粉彩

This one, also dated 1893, is in pastel. Esta, que también data del 1893, fue hecha en pastel. Celle-ci, aussi de 1893, est en pastel. Deze, ook uit 1893, is in pastel. 这幅画也于1893年创作 是粉彩画 这幅画也于1893年创作 是粉彩画

Auctioneer: "107 billion dollars - sold!" Subastador: 107 mil millones de dólares... ¡Vendido! [2012] “107 milliards de dollars, adjujé" "Vendu" Veilingmeester: "107 miljoen dollar - verkocht!" "1070亿美元--成交!" "1070亿美元--成交!"

The only one in private hands. And this is a later  copy from 1910 also tempers. All the paintings are The only one in private hands. And this is a later copy from 1910 also tempers. All the paintings are El único en manos privadas. Y esta es una copia tardía de 1910, también hecha con témpera. De enige in particuliere handen. En dit is een later exemplaar uit 1910, ook in tempura.

done on unprimed cardboard. Munch often worked with  cheap material, first because he couldn't afford car il ne pouvait pas se payer des toiles Alle schilderijen zijn gedaan op ongegrond karton. Munch werkte vaak met goedkoop materiaal, eerst omdat hij zich geen canvas kon veroorloven, 起先是因为他买不起画布 起先是因为他买不起画布

canvas, and later because the texture suited his  aesthetic. They were often glued onto wooden boards

as we can see here. A treatment no longer used.  He would use diluted paint, a technique he picked Il utilisait de la peinture diluée, un traitement plus utilisé

up from Toulouse-Lautrec, and he deliberately  left paintings unfinished as a sort of anti-art  statement une technique de Toulouse-Lautrec. Il laissait ses peintures inachevées pour s’opposer à l’art. en hij liet schilderijen bewust onvoltooid als een soort anti-kunststatement. 还故意不将画作完成 作为一种反艺术的声明 还故意不将画作完成 作为一种反艺术的声明

He wanted the cardboard to show through  the various diluted layers of pastels, to allow a través de las numerosas capas de pasteles diluidos, Il voulait que les cartons soient visibles à travers à travers les couches diluées de pastel, Hij wilde dat het karton door de verschillende verdunde pastellagen heen zichtbaar was,

the process to show. At times he has violently  stabbed on paint with the back of his brush. para permitir que se vea el proceso. En ocasiones ha pintado con el extremo opuesto del pincel, clavándolo violentamente en el cartón. pour montrer le processus. Parfois, il frappait violemment sur la peinture avec le manche de son pinceau. zodat het proces zichtbaar was. Soms stak hij heftig met de achterkant van zijn penseel verf op het karton. 有时 他会用画笔末端在画作上猛刺 有时 他会用画笔末端在画作上猛刺

He never varnished his work as he liked the matte  finish, insisting varnish "killed a painting dead". Nunca barnizó sus obras, dado que le gustaba el acabado mate, e insistía que el barniz "mataba a las pinturas". Il ne vernissait jamais ses œuvres car il aimait le fini mat, selon lui, le vernis “tuait les peintures”. Hij heeft zijn werk nooit gevernist omdat hij van de matte afwerking hield en stond erop dat vernis "een schilderij doodde". 他喜欢哑光效果 不给作品上清漆 坚持认为清漆会"杀死画作" 他喜欢哑光效果 不给作品上清漆 坚持认为清漆会"杀死画作"

Then he had something which he called "the horse  cure". This was basically leaving his paintings

outside in the garden, in all weathers to "fend for  themselves". He thought his paintings should have an

organic life and he wanted them to look aged. Here  we can see one of the many stains on the painting, Aquí podemos ver una de tantas manchas en el cuadro, Ici, on peut voir une tâche sur le tableau où Munch, Hier zien we een van de vele vlekken op het schilderij, 这里能看到画上许多污点之一 这里能看到画上许多污点之一

where Munch - in this case - spilled some wax on it. All of these add up to a nightmare for conservators. donde Munch, en este caso, derramó cera. Todos estos detalles significan una pesadilla para los conservadores. dans ce cas, y a renversé de la cire. Tout cela contribue au cauchemar des conservateurs. waar Munch - in dit geval - wat was op heeft gemorst. Al dit tesamen vormt een nachtmerrie voor conservatoren. 这是蒙克在上面洒了一些蜡 所有这些成为了修复者的一场噩梦 这是蒙克在上面洒了一些蜡 所有这些成为了修复者的一场噩梦

TV NEWS: "Two or three armed, masked men burst into the  Munch Museum in Oslo, in broad daylight and took Canal de noticias: Dos o tres hombres armados y enmascarados irrumpieron en el Museo Munch en Oslo a plena luz del día TV-NIEUWS: "Twee of drie gewapende, gemaskerde mannen stormden op klaarlichte dag het Munch Museum in Oslo binnen "两三名武装蒙面人 在白天冲进奥斯陆的蒙克博物馆 "两三名武装蒙面人 在白天冲进奥斯陆的蒙克博物馆

the paintings, as visitors watched". One of the ironies about the scream is that 在围观中拿走了画作" 关于《呐喊》讽刺的是 在围观中拿走了画作" 关于《呐喊》讽刺的是

when it was recovered after being stolen it was quickly jumped upon by a small army of conservators. luego del robo, fue abarcado rápidamente por un pequeño ejército de conservadores. une petite armée de conservateurs s'est précipitée dessus. er snel op werd gesprongen door een klein leger van conservatoren. 当它在丢失后被找回时 很快就被一小队画作修复者包围了 当它在丢失后被找回时 很快就被一小队画作修复者包围了

Munch however would have preferred they left it damaged - as part of its ongoing life. Munch, sin embargo, hubiera preferido que mantengan el daño, como parte del curso de su vida. Munch aurait préféré qu’ils le laissent endommagé, comme signe d'un vécu. Munch had echter liever gezien dat ze het beschadigd hadden achtergelaten - als onderdeel van zijn verdere leven. 然而 蒙克反而会更希望不要修复 作为其生命的延续 然而 蒙克反而会更希望不要修复 作为其生命的延续

I think it is interesting, to look at possible inspiration.  Scientists have linked the sky's unnatural colours C’est intéressant de regarder les possibles inspirations. Les scientifiques ont lié les couleurs étranges du ciel 我认为寻找灵感来源十分有趣 科学家们将天空的不自然色彩联系到 我认为寻找灵感来源十分有趣 科学家们将天空的不自然色彩联系到

to volcanic dust from the eruption of Krakatoa in  1883, which generated incredible sunsets in Europe de la erupción del Krakatoa en 1883, que generó ocasos increíbles en Europa

for months after. They have also linked it to a  phenomenon known as "Nacreous cloud formations", Ils l’ont aussi lié au phénomène des “nuages nacrés”, Ze hebben het ook in verband gebracht met een fenomeen dat bekend staat als "parelmoerachtige wolkenformaties", 被称为"珍珠云成型" 被称为"珍珠云成型"

common in Norway during winter, which is when Munch painted The Scream. A possible inspiration for the