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M U N C H Morning, 1884 With the rise of the romantic movement the theme of a woman gazing longingly toward or out of a window became fairly common in nineteenth-century painting, doubtless as an expression of the romantic quest for freedom applied to the circumscribed lives led by women of the middle class. Munch's inspiration was probably a picture by Hans Heyerdahl of 1881, At the Window (National Gallery, Oslo); he follows this work in using the profile view for representing a state of reverie, the device he adopted in many subsequent pictures. But whereas Heyerdahl's lady (in fact his wife) is obviously middle class, Munch has daringly translated the theme into proletarian terms, thus drawing it into the category of the 'social realism' of his teacher Christian Krohg. Color and execution are closer in some respects to Heyerdahl than to Krohg, whose bold, assured brushwork usually makes of light no more than a function of the mass it illuminates. Munch, on the other hand, makes light in this picture an independent and determinative factor, allowing it to shatter surfaces and hence, in the case of the girl herself, to seem to penetrate to her inner being. Her face kindles with a sort of lyrical eagerness, emphasized by the bend of her body toward the magnetic light from the almost unseen window. Already in this early masterpiece we see Munch moving away from the objectivity of most contemporary naturalism towards a revelation of internal reality. Small though the step may appear in the light of later developments, it was enough to offend the critics when the work was exhibited at the Fall Exhibition in 1884. They considered it slapdash. It might be noted that Munch disliked painting hands and ears. In later years he would scornfully mention fingernails as an example of the irrelevant details it behooved him to ignore. In this and a few other early pictures, however, he painted them.
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