Two Human Beings. The Lonely Ones (1899)

Technique: Giclée quality print
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More about this artwork

"Two Human Beings. The Lonely Ones" is a compelling woodcut print by Edvard Munch that vividly captures themes of isolation and detachment, prevalent in many of his works. In this image, two figures stand in a stark, somewhat abstract landscape. The composition starkly contrasts bright and dark elements, which reinforces the mood of emotional contrast and separation.The figure on the left, a woman, faces away from the viewer and towards the vast, open sea which stretches across the horizon, rendered in muted blue lines that evoke a sense of calm yet distant nature. Her red hair and the warm hue of her dress suggest liveliness and emotional depth, yet her posture and the way she looks out over the sea convey longing or contemplation.To the right, there is a man, dressed darkly, whose entire posture and being contrasts with that of the woman. He stands turned towards her, suggesting an attempt at connection or an unvoiced desire to reach out. Yet, this connection is not fulfilled, as a physical and emotional gap persists between them. His dark silhouette against the lighter background perhaps represents inner turmoil or a sense of being overshadowed by his own thoughts or emotions.The setting, a rocky and desolate shoreline, further underscores the theme of isolation. The various elements of the print—its stark colors, the division of space, the sea stretching between the sky and land—create a palpable tension and underscore the emotional and spatial distance between the figures.

Delivery

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Returns

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Edvard Munch (12 December 1863 – 23 January 1944) was a Norwegian painter. His best known work, The Scream (1893), has become one of Western art's most iconic images.

His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Studying at the Royal School of Art and Design in Kristiania (today's Oslo), Munch began to live a bohemian life under the influence of the nihilist Hans Jæger, who urged him to paint his own emotional and psychological state ('soul painting'); from this emerged his distinctive style.