“Obsessed by the tragedy of existence” (Karpinski...

“Obsessed by the tragedy of existence” (Karpinski, 126), the artist viewed life itself as fearful, haunted by painful memories and ailments rooted in his past. Most of his works are a clear depiction of his inner, anxious Being, allowing us to label him as “authentic,” according to Heidegger’s definition of the term. In his private journals he clearly described this overbearing and anxiety-filled experience.

He “felt a great scream,” and “the lines of nature - the lines and colors vibrated with motion” (Munch, 64), explain the vibrating and undulating lines used in his work. The epitome of existential agitation, the artist strived to depict the anxious and lonely human being, or Dasein, confronted with suppressed existential dread (Xani, 48) in nature, a nature that does not console, but rather screams (Bischoff, 53). Munch was known for painting what he remembered and not what he directly perceived.

For this reason, The Scream is a perfect example of the artist’s recollection and heightening of specific memories. Facing the spectator, the somewhat nebulous figure once again provokingly draws attention to itself as it seems to move towards death. Better yet, it could be moving towards the death and anxiety of all mankind (Schneede, 50). Is this authentic Dasein, carrying the burden of anxiety due to the insensitivity of its inauthentic companions?

In view of the latter possibility, “Munch shared the belief that illusions are shattered and all faith destroyed through contact with reality” (Lund, 64). Munch’s pessimism in this regard resonates with Heidegger’s belief that authentic Dasein, once in contact with anxiety, suffers at least to some degree. Munch painted the head in a skull-like manner, suggesting that he was trying to free it from its case but also to produce the impression that he sought to keep it intact.

The central figure was given a prominent spatial position to convey a powerful message, that of a break with reality (Eggum, 4). His “explosive statement of psychological excitement” (Longman, 13) is rooted in his ontological anxiety as well as in his fear of non-being (Lacoque and Loeb, 99). In addition, the central figure seems to have made his acquaintance with the uncanny, which in itself is bound up with anxiety (Bernstein, 111).

The absence of nose and ears further supports the idea that the scream is not heard, at least by no one else, because anxiety is too taut for it to find an outlet in vocalization (Zizek, 46-48).