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M U N C H

 

The Sun, c. 1912-16
Oil on canvas
16 feet 11 1/8 inchesx25 feet 7 inches (455x780 cm)
Aula (Assembly Hall), Oslo University, Oslo

The mural decorations of the University Aula were intended to symbolize natural forces affecting mankind as a whole, in contrast to the pictures of the 1890s he had hoped to assemble as a 'Frieze of Life,' which dealt with what he called 'the sorrow and the joy of the individual human being at close hand.' In fact there was a good deal of sorrow and not much joy in the proposed earlier assemblage, whereas in the university series Munch couples greater objectivity and generalization with optimism; there is no dwelling on his personal consciousness of misery and death. Eight of the eleven murals, the smaller upright pictures in the corners, are symbolic figure subjects. Two of the big horizontal canvases have figures set in panoramic landscapes: one, History, an old man telling stories of the past to a boy, the other. Alma Mater, a matron suckling a baby with other children nearby. Only the present picture, set in the end wall, is purely a landscape, and whereas all the others incorporate substantially new ideas reflecting a more complaisant view of mankind, here Munch refers back to an old idea, the sun with its sexual reflection traversing the sea. But the motive is energized and generalized; no longer a weak, romantic, moon-like sun fit only for arousing pale virgins on the shore but a blazing fireball powerful enough to fecundate the earth. The phallic column of light crossing the water now contains a small reproductive sun, suggestive of sperm, passing down towards the green area of land into which it will penetrate. On either side the land rises barren and rocky, like female thighs enclosing the fertile region. The blinding rays of sunlight are rendered by concentric yellow circles crossed by radiating line. As these lines get further distant they become interspersed with sections in various bright colors, perhaps suggesting that the light of the sun is the source of all color in nature. The landscape is recognizably Krager, with its rocky, wooded islands.

Except for this picture, the Aula decorations lack the intensity of feeling that could only come from a projection of the artist's personal emotions. Munch was too conscious of tragedy and decay to be entirely at home in taking, for public purposes, a one-sided optimistic view of life as a whole. How could he show Alma Mater convincingly when so conscious of his own premature loss of a mother? In The Sun, however, he was able to make public symbolism correspond to private, and thereby paint a masterpiece.

 

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