BY BELISARIO RIGHI
Painting by Edvard Munch - 1883
What's in a name? What we call rose, would it lose its scent if it had another name? So said Shakespeare's Juliet, and we say the same way when we look at the painting by Edvard Munch, called the scream by some and the scream by others. We don't care what name the Norwegian painter gave his painting. For us, scream is synonymous with scream. And frankly, beyond the correct baptism of the painting wanted by the author, which we absolutely respect, for us one term is as good as another. We are not interested in nomenclature, we are intrigued by the conceptuality of the work that exudes desperation and abandonment, terror and bewilderment. A cry or perhaps a scream can be liberating and in its crudeness it can represent a double value: the expression of anguish and the request for help. Munch did not define the nature of the subject. She did not want to give him a sexual somatic configuration. It is not known whether it is a man or a woman. The terror, because I believe this should be the right title of the work, is independent of genetic identifications. The deliberately exaggerated perspective, which places the main subject in the center of the canvas, detaching it a few steps from the apparently calm couple who follows it, the red and swirling clouds over the sea, together with elements of strong figurative impact, denote a typically expressionistic style, in the most complete and general sense of the term. The violence of expressive feelings is raised to the nth degree and is violent and aggressive as in the best Nolde.