There is enough substance in this painting to examine and analyze without resorting to Dr. Freud’s equivocal postulates. A group of three (or four) girls stands on a bridge, the young women gazing into the lake, studying the reflections caught on the surface. The water serves as a mirror, looking into which may mean a search for knowledge and understanding — a known motif in Western art. Consequently, the tree near the shore may represent the one of knowledge, which, in its biblical connotation, may also refer to sexual intercourse.
Thus, though we eventually arrive to an interpretation that withholds some erotic meaning, the route taken relies on common iconography rather then abstruse psychoanalytic guess-work (and I would stress the difference). Additionally, Munch was known to study the complexities of the attraction between the sexes, as such works as Vampire and the Kiss demonstrate. It was an important theme in his oeuvre.
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The road and the landscape begin to swirl (a technique Munch employs in the Scream, and Madonna as well) towards the vanishing point, acting as vehicles for expression of inner emotional experiences — be they of the girls or of the viewers. While in the Scream the distortion suggests anxiety and fear, and in Madonna supernatural intervention, here it is more subtle and relaxed, implying nostalgia, bittersweet farewell to the innocent past, and a hesitant, tentative welcome to the unknown future of adulthood and mature life. Both the distorted bridge and the backs of the girls imply departure, moving away, in space as well as in time.
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Nostalgia is often in the danger of slipping into sentimentalism, but the palette secures Munch from such excesses. There is something nobly hardy, and Nordic in his restraint in choice of colors, all earthly and oblique, however saturated and bright. Even the bright yellows and reds are toned down, as if anchored and inhibited by shallow Scandinavian light. Still, the warmer hues retain their primal zest — and important condition for generating a sense of elegiac sadness via contrast with the bleak weather and surroundings.
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Similar to his Madonna, Edvard Munch went on to explore the theme of several girls standing on a long elevation above water, creating several versions of the painting, including woodcuts and lithographs. By varying the colors, the number of the protagonists, and their disposition, he mines the basic psychological framework, unearthing shades of moods, some notably brighter than others. Some of the most powerful pieces dress the ladies in red and white, suggesting the process of erotic awakening and awareness, much like in the energetic Dance of Life.
ยังมีสารเพียงพอในภาพวาดนี้เพื่อตรวจสอบ และวิเคราะห์โดยไม่ต้องพยายามมาก postulates equivocal ดร. Freud กลุ่มสาวสาม (หรือสี่) ตั้งอยู่บนสะพาน ในหญิงสาวยและหันหน้าเข้าทะเลสาป ศึกษาการสะท้อนที่ติดบนพื้นผิว น้ำทำหน้าที่เป็นกระจก ค้นหาซึ่งอาจหมายถึง การค้นหาความรู้และความเข้าใจซึ่งสาระสำคัญที่รู้จักกันในศิลปะตะวันตก ดังนั้น ต้นไม้ใกล้ฝั่งอาจแสดงได้ความรู้ ซึ่ง ในนัยของพระคัมภีร์ อาจหมายถึงเพศสัมพันธ์ดังนั้น แต่เราก็มาถึงการตีความที่ withholds ความหมายบางอย่างเร้าอารมณ์ กระบวนการมาอาศัยทั่วไปปางแต่แล้ว abstruse psychoanalytic-เดา (กฉันจะย้ำความแตกต่าง) นอกจากนี้ Munch ได้รู้จักศึกษาความซับซ้อนของสถานที่ท่องเที่ยวระหว่างเพศ เช่นทำงานเป็นแวมไพร์และจูบแสดงให้เห็นถึง ชุดรูปแบบสำคัญใน oeuvre ของเขาได้ซื้อที่ Art.comThe road and the landscape begin to swirl (a technique Munch employs in the Scream, and Madonna as well) towards the vanishing point, acting as vehicles for expression of inner emotional experiences — be they of the girls or of the viewers. While in the Scream the distortion suggests anxiety and fear, and in Madonna supernatural intervention, here it is more subtle and relaxed, implying nostalgia, bittersweet farewell to the innocent past, and a hesitant, tentative welcome to the unknown future of adulthood and mature life. Both the distorted bridge and the backs of the girls imply departure, moving away, in space as well as in time.Buy at Art.comNostalgia is often in the danger of slipping into sentimentalism, but the palette secures Munch from such excesses. There is something nobly hardy, and Nordic in his restraint in choice of colors, all earthly and oblique, however saturated and bright. Even the bright yellows and reds are toned down, as if anchored and inhibited by shallow Scandinavian light. Still, the warmer hues retain their primal zest — and important condition for generating a sense of elegiac sadness via contrast with the bleak weather and surroundings.Buy at Art.comSimilar to his Madonna, Edvard Munch went on to explore the theme of several girls standing on a long elevation above water, creating several versions of the painting, including woodcuts and lithographs. By varying the colors, the number of the protagonists, and their disposition, he mines the basic psychological framework, unearthing shades of moods, some notably brighter than others. Some of the most powerful pieces dress the ladies in red and white, suggesting the process of erotic awakening and awareness, much like in the energetic Dance of Life.
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