The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self. However, later studies have disputed the Italian theory, as Munch did not visit Florence until after painting The Scream.
In 2004, Piero Mannucci, an Italian anthropologist speculated that Munch might have seen a mummy in Florence's Museum of Natural History, which bears an even more striking resemblance to the painting. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Paul Gauguin: it stood as a model for figures in more than twenty of Gauguin's paintings, among those the central figure in his painting Human misery (Grape harvest at Arles) and for the old woman at the left in his painting Where Do We Come From? What Are We? Where Are We Going?. In 1978, the Munch scholar Robert Rosenblum suggested that the strange, skeletal creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the mental asylum at the foot of Ekeberg. The scene was identified as being the view from a road overlooking Oslo, by the Oslofjord and Hovedøya, from the hill of Ekeberg. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. Another explanation for the red skies is that they are due to the appearance of nacreous clouds which occur at the latitude of Norway and which look remarkably similar to the skies depicted in The Scream.
This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Īmong theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 18, about a decade before Munch painted The Scream.
I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature. He later described his inspiration for the image: I painted this picture, painted the clouds as actual blood. I sensed a scream passing through nature it seemed to me that I heard the scream. I stopped and looked out over the fjord – the sun was setting, and the clouds turning blood red. One evening I was walking along a path, the city was on one side and the fjord below. In his diary in an entry headed "Nice 22 January 1892", Munch wrote: In 2012 one of the pastel versions commanded an at-the-time highest nominal price paid for an artwork at a public auction. Both painted versions have been stolen, but since recovered. Munch created two versions in paint and two in pastels, as well as a lithograph stone from which several prints survive. Scholars have located the spot to a fjord overlooking Oslo and have suggested other explanations for the unnaturally orange sky, ranging from the effects of a volcanic eruption to a psychological reaction by Munch to his sister's commitment at a nearby lunatic asylum. He sensed an "infinite scream passing through nature". Munch recalled that he had been out for a walk at sunset when suddenly the setting sun's light turned the clouds " a blood red". Munch's work, including The Scream, would go on to have a formative influence on the Expressionist movement. 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. The Norwegian name of the piece is Skrik (Shriek), and the German title under which it was first exhibited is Der Schrei der Natur (The Scream of Nature). The Scream is a composition created by Norwegian artist Edvard Munch in 1893. National Gallery and Munch Museum, Oslo, Norway Oil, tempera, pastel and crayon on cardboard For other uses, see The Scream (disambiguation).
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