:11:02
This canvas marks a major development
in the work of Edvard Munch.
:11:06
It develops still further
the flat application of colour areas,
:11:10
the lack of perspective,
:11:12
the tension between
space and surface.
:11:15
It is dismissed by the critics
as a "sketch".
:11:20
Edvard Munch is now seeking to take
the practical artistic consequences
:11:25
of what lies behind
the theories of the Symbolists.
:11:29
He wants to realize them
in all-powerful subjectivity,
:11:33
to pass on what he and he alone,
experiences from the motif
:11:38
at the very moment that he grips it,
:11:41
or that he is gripped by it.
:11:44
I walked along the road with two friends.
The sun went down.
:11:50
I felt it like a melancholy sigh.
:11:54
Suddenly the sky became blood red.
I stopped.
:11:59
I leaned against the fence
tired to death.
:12:04
I saw the flaming sky
:12:06
like blood, like a sword
:12:08
over the fjord and the town.
:12:11
My friends continued on.
I stood there shaking in anguish.
:12:16
I felt it like a great
:12:17
endless scream through nature.
:12:23
The German Kaiser visits London,
hoping that Britain will agree
:12:27
to the Triple Alliance
with Austria and Italy.
:12:32
There is civil war in Chile,
:12:34
widespread famine in Russia.
:12:47
Munch now paints and exhibits
a portrait of his sister Inger.
:12:52
Another breakthrough.
Perspective has vanished.
:12:55
Space and surface are one.
:12:58
But this canvas, and his work
known as Despair,