The Scream (After Munch)
Screenprint in a unique combination of colours, 1984
Sheet: 1016 by 813mm
Est. £200,000 - 300,000
September 4, 2012, source: Sotheby'sStriking, unique and ground-breaking works, The Scream (After Munch), Eva Mudocci (After Munch), and Madonna and Self-Portrait with Skeleton’s Arm (After Munch) are a rare and enterprising offering from Warhol – a meeting between two of the finest artists of the twentieth century. The prints come to auction from an Important European Collection with a combined estimate of £500,000 – 750,000.
The Scream (After Munch)
Munch’s The Scream is one of most instantly recognisable motifs in both art history and popular culture. An existential cry for the struggle of mankind, the composition is one of the artist’s darkest and most challenging works. In this impression, Warhol makes some radical changes to the original motif, emphasising the basic features of the figure to create a cartoon-like face and exchanging the sombre tones of Munch’s work for his own choice of unique, bright clashing colour combinations.
Madonna and Self-Portrait with Skeleton’s Arm (After Munch)
Andy Warhol’s unnerving screenprint Madonna and Self-Portrait with Skeleton’s Arm (After Munch) is composed of motifs from two of Munch’s celebrated works. On the left, we see Warhol’s interpretation of Munch’s Madonna. Capturing the moment of the conception, this was one of Munch’s most controversial works. Surrounded by long flowing hair, Warhol’s transforms her into an emblem of powerful femininity, on par with the artist’s prints of Hollywood stars Liz Taylor or Marilyn Monroe. On the right, Warhol pays tribute to Munch’s haunting self-portrait, Self-Portrait with Skeleton’s Arm. The use of the self-portrait reflects Warhol’s anxiety over mortality and his pre-occupation with death.
Eva Mudocci (After Munch)
As well as being one of the finest English violinists of her generation, Eva Mudocci was also Edvard Munch’s lover. Munch tried several times to paint the perfect picture of Eva in vain; each time abandoning his attempts and destroying his canvases. He had more success with lithographs, and one such work entitled "Madonna (The Brooch)", forms the basis for Warhol’s print. In Warhol’s adaptation, the pop artist retains the romantic essence of Munch’s original image, though creates his own 20th century interpretation of the female ideal much like he does in Madonna.