The two paintings competed first in Western art history, earning their pride in countless postcards, posters and tote bags, as well as other forms of merchandise and mass media incarnations. One is Leonardo’s Mona LisaAnother, Edvard Munch Screaming.
The sheer power of each person expressing through the face represents their own era. Mona Lisa’s famous ambiguous smile is fixed on a seamless and quiet surface – the lens is associated with smoke and mist. Munch’s protagonist has Xiaomei, which can be used for the horror films of eyes, mouth, vertically elongated ovals, responded by fanatical lines. Leonardo’s masterpiece reflects a belief in humanism, naturalism and classicism. Munch’s Industrial Revolution unveils the same thing.
But there are more ScreamingHistorically, it was not just the background of emergence. this Mona Lisa Represents an impossible ideal – measurable, but obviously unachievable. ScreamingOn the other hand, it can be said to be an older, state of existence, associated with fear (psychologically and physically), thus causing humans to bother humans from scratch. Besides Leonardo’s masterpiece, its eternity is another order that finds the truth of nature by connecting it with the true expression of the human condition.
ScreamingThe earliest version was drawn in 1893, arguably the first modern painting, although many would attribute it to Picasso’s Les Demoiselles d’Avignon (1907). but Les Demoiselles Through the Renaissance paradigm shown by La Gioconda, radical rupture, Screaming Expressing modernity through subjective emotional frameworks allows concrete sense of alienation and atheism to define life in the 20th century.
Ironically, that’s not Monk’s intention, even Screaming Inspiration was provided for most of the art that followed, especially expressionism. Instead, Munch’s work develops in the context of symbolism, a dreamy fable that abandons artistic formalism. Munch followed closely behind. He once said: “The angels of anxiety, worry and death stood by me from the moment I was born.” His childhood was made with chronic illness, premature death of siblings, and fear of becoming victims of family history of mental illness, which was Munch’s neurotic temperament.
Thus, the subjects of mortality, melancholy and anxiety always haunt his compositions, which are often distinguished by soft, cytoplasmic figures hanging in space and time. Screaming In this respect, its ghostly figure stands on the bridge as he growls under a hellish sky presenting in an incandescent band of orange and crimson. His body, the snake seemed to be at the end of the flickering candle, recording his consumption through fear and psychological fear. Two blurred characters stand in the background, forgetting his pain.
Munch also attributes the transformation of emotions into obvious people to Romantics, who swept across the continent in the early 19th century as a response to the Enlightenment’s emphasis on reason. Their aesthetics are based on passion, and most obviously the sublime concept. The sublime architecture dates back to Greece in the first century AD, and it mentions exceptionalism. But it was Edmund Burke, the 18th-century British philosopher who defined the concept accepted by the romanticists, the power of nature to arouse horror and awe in lovers.
Munch captured the experience. He wrote: “I was walking along a road with two friends,” “Suddenly the sky turned into blood… [with] Blue-black fjords and red tongue above the city. . . . I stood there trembling anxiety, and I felt an infinite scream passing through nature. ” ScreamingThen, there is the document of Munch’s epiphany, whose overwhelmed character stands for himself.
However, it is not necessarily conveyed by the mouth and eyes Screaming Meaning, but futile effort blocked the unbearable sound, but clapped in vain. Over time, the key aspects of the painting were largely replaced by the idea that it captured a wider presence and social collapse.
Screaming It has always been the subject of countless speculations. Some claim it is a self-portrait of Munch’s panic attack, or perhaps inspired by the distance of the crazy shelter near the painting’s environment overlooking Oslo. Others focus on the cause of the blood-red sky above, the volcanic eruption on the island of Krakatoya on Indonesia (causing cooling temperatures and sunshine all over the world) and the culprit, as well as the polar stratosphere clouds in Norway. Eventually, the figure is said to be from a Peruvian mummy exhibited at the World Exhibition in Paris in 1889, which also made its debut with the Eiffel Tower. Although the object does have surprising similarities to Munch’s creation, there is no record of what he has seen it, although it is apparently a friend and mentor Paul Gaugin.
To be sure, between 1893 and 1910, Munch produced five versions Screamingtwo oil and two soft soft plates, and lithographic printing plates. Especially three infamous brushes.
For example, the earliest version of the blatant theft of oil and tempera on cardboard at the National Gallery in Oslo in February 1994 (called “Wax Scream” because Monk sprinkled wax on it, because Monk sprinkled wax on it). As the country dispersed the winter of the winter in Norway against Robbers’ attention in Norway, this was the winder’s feet of a lad, this was the lad’s lad. Screaming. The work was eventually restored.
Ten years later, another version of Screaming Muzzle was stolen in the spacious sunlight of the Munch Museum in Oslo. This is also due to the promise of 2 million M&M by candy maker Mars (Mars, Inc.), which was also recycled, and that was so bounty.
Most famous is a gentle iteration Screaming It earned $120 million in revenue at a Sotheby’s auction in 2012, making it the most expensive painting ever sold (will be abandoned in five years). Another little-known fact about pastel history is that it was hidden in a Norwegian barn during World War II, while its owners were trapped in Britain during this period.
This conflict and a program helped turn Monkey’s Neural Tony’s impact on the sublime into a change today: We cannot grasp the symbol of the indescribable monster. Its imports are still being broadcast from the popular culture level, demonstrating the enduring power of Monk’s vision.
