The Scream
The Scream, painting by Edvard Munch that became his most famous work. He completed two versions in 1893, another in 1895, and yet another likely in 1910.
The Scream is one of the most familiar images in modern art and a canonical piece in the art nouveau style. It stemmed from a panic attack that Munch suffered in 1892, which he recounted artistically in a sketch from that year that he called Despair. He described how this psychologically fraught episode occurred as he was strolling along a path outside Kristiania (now Oslo): “The sun was setting and the clouds turned as red as blood. I sensed a scream passing through nature. I felt as though I could actually hear the scream. I painted this picture, painted the clouds like real blood. The colors shrieked.” Munch represented this scream through a series of undulating lines that pressed in on the figure like shock waves, reducing its face to a primal image of fear and standing in visual contrast to the straight path on which the three figures are walking. He accentuated this effect by showing that his two companions, who are seen walking away, were unscathed, thus implying that the trauma came from his own mind, rather than the world outside. It is conjectured that the central figure in the painting is modelled on an Inca mummy that Munch saw in a Parisian museum while visiting the World’s Fair there in 1889. Whatever the case, on a copy of the picture, Munch wrote: “Could only have been painted by a madman.”
The first version of the painting was untitled, while the second bore the German title Geschrei. Known in English as The Scream, the work has become a popular representation of the human condition and an icon of the anxiety of modern life. It was an immediate sensation, reproduced widely in art magazines and appearing as the cover illustration for a book on mental illness and art as early as 1908. The painting’s central figure has appeared throughout Western popular culture in everything from television to emoji, and it has been parodied in motion pictures, including, arguably, Macaulay Culkin’s iconic grimace in John Hughes’s Home Alone.
One gauge of the work’s popularity is that several times it has been the object of art thieves, twice successfully: one version was stolen from Oslo’s National Galley in 1994 and recovered several months later, while another was stolen at gunpoint from the Munch Museum in Oslo and recovered two years later. The work is undeniably valuable, with still another pastel version selling at auction for a record $120 million in 2012.