Munch's 'The Scream' and Picasso's Cubism: Art Analysis

Edvard Munch and Expressionism (1893)

The Scream (1893) by Edvard Munch, the Norwegian painter, is one of the most characteristic works of Expressionism. His paintings, though possessing great beauty, are disconcerting, expressing personal tragedy and the human condition. They show feelings of loneliness, helplessness, fear of death, and impotence.

In the late 19th and early 20th centuries, Expressionism emerged in Europe. Each artist sought to interpret their inner world, distorting reality to reflect anguish. All lines seem to emanate from the open mouth in a scream, reflecting his life.

• The sky, water, and earth reflect the cadaverous inner world of the protagonist and his isolation.
• The agitation and mixing of convulsive colors express despair, anguish, and the loneliness of human rejection.

The world of The Scream emphasizes the figure's silhouette more than its details. The colors underline the terror; they do not imitate nature but are totally subjective, highlighting the tragedy.

Picasso's Cubism: Les Demoiselles d'Avignon (1907)

Les Demoiselles d'Avignon (1907) by Picasso marks the beginning of Cubism, the movement of the early 20th century reacting against Impressionism. It developed between 1907 and 1914, a time when Europe experienced diplomatic tensions that triggered World War I.

Artistic Goals of Early Cubism

These artistic movements sought languages closer to the reality and society of their time. The start of Cubism is dated with this work, when Picasso moved out of his Pink Period and began to geometrize.

Breaking with Tradition

Picasso did not represent apparent reality; he painted a new reality, breaking with perspective, light, and analyzing contours to represent forms. The subject matter involves several women from a Barcelona brothel, alongside a still life.

Deconstruction and Form

He decomposes figures and drawings, presenting them in faceted angles. He dispenses with light, and anatomy is resolved spatially. The representation is based on flat triangles, shapes that lack a sense of depth. It shows us what we know, not only what we see.

Influences on the Figures

The figure on the left recalls Egyptian art; the following two recall Iberian art; and the two on the right have physiognomies resembling African masks.