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M U N C H
Girls on the Pier, 1901 On the jetty at Asgardstrand three girls gaze into the water at the reflection of the distant shore. It was a theme Munch repeated many times with variations. Together with its reflection the big tree (or mass of trees) acquires a vaguely phallic shape, giving rise to the idea that the subject alludes to the onset of puberty. That may be the case, but it is also probable that the water is intended to reflect a memory of early childhood. The deep recession in perspective may signify looking back with the memory's eye along a stretch of time. The railing against which the girls lean lacks any supporting posts, giving it unbroken continuity. Then comes the vanishing point of its perspective, an abrupt end separating it from the background which, contrary to the three dimensional reality of the jetty, is reduced to a flat, somewhat art nouveau, pattern. The continuity of the fence may be taken to symbolize continuous memory, ending at a point in childhood beyond which only' detached memory images can be recallep. The reflection in the water seems to reflect such a dim image of the past floating in the minds of the girls, who are placed in transverse poses of dreamy contemplation. Discrepancies between the background and its reflection may point to the inaccuracy of memory: in the reflection the house on the left is of a different shape, with three windows instead of two and no chimney, while the moon has disappeared altogether.
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