Edvard Munch

This came from a string of coastal landscapes painted while recovering from a breakdown — a much quieter stretch than the work he's known for.

Part of a long series he kept adding to and rehanging for years — love, jealousy, illness, death, all of it as one run. Supposedly this one went under a second title along the lines of 'After the Fall', which tells you roughly where in that story we've arrived.

The name everyone calls this by wasn't his — someone else stuck it on later, and he'd used a much gentler title himself. He painted the same two people over and over, six goes at it in about two years, from what I can find.

This was, apparently, based on a real walk — he wrote later about feeling something like a scream pass through nature, and said the sky here is close to how he actually remembered the color that evening.

One out of a huge cycle he kept adding to for decades — love, jealousy, death — built to hang together as a set rather than be met one at a time. He came back to two people kissing over and over, in paint and in prints, and from what I can find the two of them get harder to tell apart with every version.

This was, apparently, based on a real walk — he wrote later about feeling something like a scream pass through nature, and said the sky here is close to how he actually remembered the color that evening.

Apparently this reworks the same crowd and shoreline from a painting he'd made the year before, and he returned to these same faces again in prints a couple years later. It was one piece in a much bigger series he kept adding to for decades, loosely tracking stages of a life.

From what I can find, this comes from the same walk near Oslo that later produced The Scream.

The death in it happened when he was a boy — his sister — but he didn't paint it until decades later, and from what I can find that's why the family in the room are all the age they were when he picked up the brush, not the age they were at the time.