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M U N C H Spring Day on Karl Johan Street,
1891 Like other gifted artists, including Pissarro and Van Gogh, Munch was briefly attracted to the neo-impressionism or pointillism of Seurat and Signac, whereby the brilliant, sketchily applied colors of impressionism were disciplined into carefully controlled patterns of shimmering, multi-colored spots of paint, to be blended by the observer's eye. Here he applies the method, rather loosely, to a subject typical of impressionism but rare for Munch, in fact inimical to his serious artistic goals: the happy leisure life of the bourgeoisie. Karl Johan Street was Christiania's fashionable main thoroughfare. Munch paints it looking toward the Royal Palace, with the Grand Hotel, a center of the city's artistic and intellectual life, on the extreme right. He skillfully employs a construction he used later for very different purposes, a synthesis of flat pattern and plunging perspective, with truncated figures in the extreme foreground. The inclusion of sunshades or umbrellas in such a scene probably derives from a picture by Krohg of 1882, Village Street at Grez. It is worth noting how the mass of foliage in the middle ground roughly repeats and amplifies the shapes of the sunshades, wedding them to the larger elements of the design.
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