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M U N C H

Woman in Three Stages (The Sphinx), c. 1894
Oil on canvas
641/2X981/2 inches (164x250 cm)
Rasmus Meyer Collection, Bergen

Of many variations on the theme of the phases of womanhood, this picture is the most complete. In the left half stands an adolescent girl, alone in a deep space, facing the sea, the cosmic instrument of her arousal. The motive may derive from a well-known picture of 1864, Villa by the Sea, by the Swiss-German romantic painter Arnold Bocklin, whom Munch greatly admired. In Munch's picture both the girl and the shoreline stretching behind her are drawn with sinuous art nouveau curves, suggestively feminine. Munch tended to apply such treatment to dreams or recollections of the past that have become blurred in the memory and can be fused into flat subjective patterns. In contrast, the right half of the picture, treated more realistically, contains three figures pushed forward by the forest of trees behind them. This kind of opposition is typical of sixteenth-century mannerist painting, with which Munch occasionally shows an affinity. The nude, red-haired woman in the center adopts a mating pose, with hands hidden and legs wide apart; she is not unlike the Madonna but lacks her spirituality, and her face wears a mocking smile. Next to her is a sad, wan, older woman, doubtless representing the supposed emptiness of post-nubile life, with nothing but death to look forward to. Finally, on the extreme right stands an unhappy man, probably deliberately clumsily drawn, the hapless victim of inevitable erotic distress. Both he and the older woman are dressed in black and both seem imprisoned by the trees enclosing them, whereas the lustful nude in the center stands clear of the forest. The man seems to grope at a plant dripping with blood which Munch later identified as a mandrake. Mandrake (Alrune) was the name of a poem by his friend Goldstein, in which the plant, shedding blood, is associated with the sufferings of the love-lorn artist. Munch, whose source this undoubtedly was, may have intended the same meaning. Or he may be referring to one of the many superstitions attached to this poisonous plant, for example that to pull it out by its roots meant madness or death.

 

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