Winter 1899

Editor: Here we have Edvard Munch’s “Winter,” created in 1899 with oil paint. It's quite stark, isn't it? The blue tones and bare trees create such a desolate atmosphere. What strikes you about the composition? Curator: Precisely. Observe how Munch employs impasto, the thick application of paint, to render the snow. Notice how the brushstrokes, particularly in the foreground, are quite assertive, creating texture and volume. This is offset against the flatter application of paint used for the trees, creating a juxtaposition of depth and shallowness. Editor: I see that now. So the surface quality itself becomes part of the meaning. What about the colors? Curator: Consider the chromatic reduction, the deliberate limitation of the color palette. Munch restricts himself primarily to blues, whites, and browns. How does this economy of color influence the visual experience? Editor: It amplifies the feeling of cold, I think, and highlights the emptiness of the scene. But what’s the significance of those blue outlines in the snow? Curator: The blue outlines, bordering the otherwise white expanse of snow, serve to define form, while simultaneously flattening it, as the sinuous lines deny a purely mimetic representation. The use of line against block allows Munch to play with perceived depths, simultaneously accentuating the foregrounded nature of the scene. Consider too, the directionality of the trees which guide the viewers’ eyes in toward an obscured vanishing point. What sort of affect does that choice engender? Editor: It pulls you in, but also creates a sense of unease, since you can’t quite resolve the perspective. It feels both inviting and claustrophobic. Curator: Precisely. The formal tensions at play allow us to view the psychological terrain embedded within a seemingly innocuous landscape. Editor: This deeper dive into brushwork and color has totally transformed how I see the painting! Curator: Indeed, through rigorous analysis, we have hopefully, allowed the artwork to speak for itself.