Personified Emotions - Aleeta Darland

Munch used a lot of curvy lines in this piece giving it a watery, dreamlike feel. The main character is centered, and much larger than the figures in the background giving it a sense of depth. The use of red-orange violet, blue-green and yellow indicate a square color scheme.

The menacing red in the sky stands out against the purplish-black swirls of water below. The eyes of the young woman are staring directly at the audience while all the others are looking elsewhere. The corners of her mouth are turned slightly down. The man to the left of her is looking down at her with a scowl on his face. They’re all dressed in black, which suggests a time of mourning.

This looks like a charcoal drawing of a naked bride. The lines on top of her head appear to be a veil, or some sort of sheer covering. If you look closely, her left nipple has a small ring. The ends of her hair have bold, thick lines that curve like flames. Her eyes are averted, possibly in shame.

This painting is symmetrical, and balanced both vertically and horizontally: the man and woman standing on either side of the tree, and city scene above is balanced by the burial on the bottom. The use of greens and blues in the majority of the painting, seeming to represent life, is starkly contrasted by the lack thereof at the bottom.

The contrast of light and dark between the man and woman indicates the difference in their mood. She appears weightless as she walks away, leaving him heartbroken, clutching his chest. The dark clouds above his head further indicate his emotional state. She’s facing away from him without any details on her face, possibly because she’s a ghost.

This painting is similar to Separation in the way the couple is contrasted. She is dressed in white, he in black. The space between them, and the fact they’re not facing each other alludes to the emotional title, Two People: The Lonely Ones. The curve of the blue makes it look like they’re standing by a body of water. Her red hair against the blue with a highlight of yellow on her dress creates a triadic color scheme.

The color difference between the two figures is very subtle. It’s hard to tell where one ends, and the other begins. Especially their faces; they blend into one, disguising the actual kiss. The most distinguishing marks are the strokes of red around her collar and sleeve. The curved lines above their heads are like water ripples, creating a feeling of movement, or emanating energy.

This is probably my favorite of all his paintings. Although you can’t actually see her crying, the fact that her head is in her hands, enshrouded by her hair and shadows, the sorrow is palpable. The cheery purples and pinks are no match for deep bluish-green, and red that surrounds her. The red line on her thigh could be a self-inflicted gash: perhaps she’s sitting in a pool of her own blood. Munch used highlights of green around her body, and a splash of purple in her hair, which unifies the piece, pulling everything together.

This painting has a very dark, smoldering appearance with the use of dark reddish-orange, and greenish-black. The contrast between the face and body is interesting as the face almost blends into the background. The brushstrokes on the right give the illusion of flames. There are very few details in the background bringing all the focus to the man who’s centered in the painting.

The combination of yellow and green on the left man’s face could represent jealousy and cowardice. The red on the woman’s face could either be embarrassment, or anger. Considering the line above her eyes are arched upwards, anger doesn’t seem plausible. The most striking use of colors is on each of their faces. The majority of the painting is either black or white, bringing focus to their expressions.