Key2Pay ULTRA – The Scream

The Scream (1893) – Edvard Munch (1863-1944)

The Scream is a composition created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik (Shriek), and the German title under which it was first exhibited Der Schrei der Natur (The Scream of Nature). The agonized face in the painting has become one of the most iconic images of art, seen as symbolizing the anxiety of the human condition. Munch’s work, including The Scream, had a formative influence on the Expressionist movement.

Edvard Munch was a Norwegian painter. His 1893 work, The Scream, has become one of Western art’s most acclaimed images.

His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the Royal School of Art and Design in Kristiania (today’s Oslo), Munch began to live a bohemian life under the influence of the nihilist Hans Jæger, who urged him to paint his own emotional and psychological state (‘soul painting’); from this emerged his distinctive style.

Travel brought new influences and outlets. In Paris, he learned much from Paul Gauguin, Vincent van Gogh and Henri de Toulouse-Lautrec, especially their use of color. In Berlin, he met the Swedish dramatist August Strindberg, whom he painted, as he embarked on a major series of paintings he would later call The Frieze of Life, depicting a series of deeply-felt themes such as love, anxiety, jealousy and betrayal, steeped in atmosphere.

The Scream was conceived in Kristiania. According to Munch, he was out walking at sunset, when he ‘heard the enormous, infinite scream of nature’. The painting’s agonized face is widely identified with the angst of the modern person. Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would eventually command the fourth highest nominal price paid for a painting at auction.

Self-Portrait with Palette (1926). Currently on view at the Clark Art Institute
As his fame and wealth grew, his emotional state remained insecure. He briefly considered marriage, but could not commit himself. A mental breakdown in 1908 forced him to give up heavy drinking, and he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city’s museums. His later years were spent working in peace and privacy. Although his works were banned in Nazi-occupied Europe, most of them survived World War II, securing him a legacy.

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