Scott+Ramsey

=Surrealism:= = = = = = = = = = = = = = = = = = = = = = = =Dadaism: =

= = =Russian Avante-Garde:= ==

= = = = = = = =

= = = Italian Futurism: = = = == = = = = = = = Orphism: = == = = = = = = = = = = = = = = = = = = = = = = = = = = = Cubism: = = = = = = = = = = =

= = = Expressionism: = = = = = = = = = = = = = = = = = = =

= Primitivist Art: = == == = =

= Expressionist Art: = = = Munch utilized various different mediums to create several versions of this now-iconic image between the years 1893 and 1910. Only two paintings are known to exist, one circa 1910 and the other (pictured above) circa 1893. Interestingly, the above version was painted on cardboard and currently is held by the National Gallery of Norway. I've posted it as an example of expressionist art, but, given that the modernist categories of expressionism, symbolism, decadence, primitivism, etc, oftentimes overlap, one could make the case that "The Scream" should be classified as something other than expressionist art. Nevertheless, I'm offering it as an example of expressionist art, and I think that it is particularly relevant to our Modern World Literature course given that it expresses (at least an element of) the modernist dilemma, which (for the sake of brevity) I’ll describe broadly as disillusionment—an umbrella term under which fall myriad modernist themes/moods/subject matter/symbols. Furthermore, this painting relates to the works we’ve studied in class in rather direct and interesting fashion. The sky/background calls to mind the red sky and the atmosphere in Andreyev’s “The Red Laugh.” The expression of horror in the painting evokes the sense of horror one finds in “Diary of a Madman” or “The Red Laugh,” to name but two examples among several. Additionally, the subject's facial expression appears to be one not only of horror in general, but of the sudden realization (perhaps the word epiphany is a suitable term) of something terrible—like Lord Chandos’s realizing that the inherent limitations/inadequacy of language preclude his ever writing again, or Kurtz’s recognizing in the final moments of his life the vile wickedness of his actions in Africa (assuming, of course, that Kurtz’s final words are an indication that he not only acknowledges but also regrets his immoral actions, his brutality, his crimes against humanity). Likewise, one can interpret “The Scream” as representing, for instance, the anguish and shock of the decadent who suddenly perceives that the barbarians are at the gate, ready to destroy that which the decadent reveres. And so on and so forth. . . the possibilities are endless. In fact, one most likely can—in some way or another—relate “The Scream” to every work of literature that we’ve covered heretofore. Incidentally, I've always admired "The Scream" both for its aesthetic qualities (its "look," so to speak) as well as for what is left unstated, "the unstated" allowing for the usually fulfilling experience of interpreting, speculating, considering, scrutinizing, questioning, discussing. . . and hopefully learning and finding inspiration (which can have "real world" utilitarian value, to say nothing of the intrinsic value of knowledge). This painting is intriguing because it begs to be interpreted; contemplating its meaning and pondering the source of its subject's chilling expression seems to come naturally, without deliberate effort or forethought.

__Side note__: On page 250 of our "Manifesto" book, Munch describes what might have been the inspiration for "The Scream." Under the heading "NICE, 22 January 1892" Munch says: "I was walking along the road with two friends—the sun went down—I felt a gust of melancholy—suddenly the sky turned blood red. I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast, infinite scream [tear] through nature.”

= Symbolist Art: = = = = = =  =

It is fascinating that both life and death are symbolized by islands, a fact that raises the following question: Which is more significant —the similarities between the isles of life and death, or the differences between said isles?

= Decadent Art: = The scene depicted above definitely is decadent. . . for reasons that should be obvious.

= At Nouveau: =

= Assignment 1: =