Edvard Munch's the Scream Edvard Thesis

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This is reflected by the lack of balance and harmony in the painting; the extreme perspective that has everything slanted back and to the left deliberately cuts the painting into two portions along an uneven and seemingly random angle. The off-balance feeling of this painting is strengthened even more by the fact that the central figure is cut off at the bottom.

The central figure himself is also placed off-center in the painting, standing against the rail of the bridge at the extreme foreground of the painting, where it disappears on the right. The figure himself is not cut off on the side, only on the bottom, and this placement puts the figure's thrust off kilter, making it somewhat less powerful. Yet the figure still completely dominates the painting, and even appears to be surrounded by a slight border as the rest of the scene curves around him.

One obvious interpretation of the Scream is that the central figure is under some sort of torment; insanity is often suggested as an explanation for this public display of anguish (Art & Critique, par. 1). There is a strange quietness to the painting, however. Everything is softened by the curves, and the colors are so muted that it almost appears as though the screamer -- and indeed the rest of the scene -- is in reality totally silent.

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There is almost a feeling that sound cannot exist in the world of the painting, making the scream a futile and horribly ironic gesture. This interpretation would mean that the screamer's torment might come from not being heard, or not being able to correctly express himself, or a combination of the two. This interpretation is strengthened by the above mentioned fact that this figure is more connected with the wild background than the straight and detailed bridge like the other human figures.

Even if the scream can be heard, the basic aspects of this interpretation are borne out. The mood of the painting is certainly confused and depressive, as exemplified by the curves, extreme perspective, and generally muted colors with an angry orange sky. The fact that the only straight lines in the painting do not exist at any regular angle, and do not connect either the corners of the painting or any of the other subject elements, reinforces this idea that the world is not as it should be for the central figure or perhaps for the other two, either, though they are unaware of this.

As a display of raw and un-intellectualized emotion, this painting is very successful. Some of the elemnts of construction and composition appear almost amateurish, but as purposeful attempts to reject technique, they shine.

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