We all know the face and hands of the figure, set in its marble chair, in that circle of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least. The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all “the ends of the world are come,” and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed!

The curving, swirling lines of hills, mountains, and sky, the brilliantly contrasting blues and yellows, the large, flame-like cypress trees, and the thickly layered brushstrokes of Vincent van Gogh’s The Starry Night are ingrained in the minds of many as an expression of the artist’s turbulent state-of-mind. Van Gogh’s canvas is indeed an exceptional work of art, not only in terms of its quality but also within the artist’s oeuvre, since in comparison to favored subjects like irises, sunflowers, or wheat fields, night landscapes are rare. Nevertheless, it is surprising that The Starry Night has become so well known. Van Gogh mentioned it briefly in his letters as a simple “study of night” or ”night effect.”

The Last Supper, painted between 1494 and the beginning of 1498, is considered perhaps the most important mural painting in the world, “a beautiful and marvelous thing”, as Giorgio Vasari wrote in his Lives of the Most Excellent Painters, Sculptors and Architects, in which he speaks of Leonardo and describes the Last Supper.

Title: The Last Supper

Author: Leonardo Da Vinci

Date: 1495-1498

Technique: dry wall-painting

Sizes: 460 × 880cm

General information

Artist: Johannes Vermeer

Title: Girl with a Pearl Earring

Dated: 1665

On view in: Room 15

Technique: oil

Material: canvas

Dimensions: 44.5 x 39 cm

The screaming figure is thus linked through these formal means to the natural realm, which was apparently Munch’s intention. A passage in Munch’s diary dated January 22, 1892, and written in Nice, contains the probable inspiration for this scene as the artist remembered it:

I was walking along the road with two friends—the sun went down—I felt a gust of melancholy—suddenly the sky turned a bloody 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.