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M U N C H
Jealousy, 1895 In Munch's Berlin days a second circle of Bohemian free lovers, less socially motivated than those in Christiania, centered on the bewitching Dagny Przybyszewska, again engendered jealousy. Her hus- band apparently countenanced her intrigues for the sake of providing material for his novels. The triangle represented here is reputed to consist of Dagny, Munch and in the foreground the jealous husband Stanislaw, although the jealous man only partially resembles him and the background figures are too generalized to admit of identification. These two enact the story of Eve plucking fruit from the forbidden tree and offering it to Adam. However, since the man is clothed in modern dress and the woman parts a red robe to reveal her nudity, the theological significance is weakened and Eve merely cast in the role of a temptress. The protagonist faces the front, his face alert, implying an active response to his disturbing vision. Nevertheless he is tethered to it by Eve's 'predatory contour,' the red outline of her robe that extends to form portions of the contours of the two men, whereby she establishes her dominion over both. The device relates to the art nouveau pursuit of unity. In spite of facing away, the foreground figure is trapped by his own imagination, and the two halves of the design, the objective foreground and the subjective background, unite into a single flat pattern. In the border on the left stands a red potted plant. If it is intended as a man drake (as would seem likely from the shape of the leaves) it may again, following Goldstein, symbolize the suffering of the artist. On the other hand, if Munch were being iconographically consistent it would symbolize fertility, as that is the meaning attached to this plant in the book of Genesis (xxx, 14-16). |
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