|Edvard Munch, The Dance of Life,(Part of Frieze of Life Series) 1899-1900|
(National Gallery, Oslo)
This work is also an autobiographical work, because the couple dancing in the middle is Munch and Mrs. Heiberg, his love, while the two figures on the left and right are Tulla Larsen, another one of his lovers who married someone else. He and his lover are almost united into one figure; her hair comes down and while her skirt also echoes the motion, it goes all around them as a red outline surrounding and encompassing them completely. They are living in their moment and no one can break into it. She actually didn't have such long hair but Munch used women's hair as a surrounding and uniting element in his paintings.
In order to make it more truthful, he has ravaged the surface of the painting. He did not want the surface of the painting to look fine. This brought the whole scene into reality.
|Camille Claudel, The Waltz, 1895|
(Musee Rodin, Paris)
Munch sought to capture emotional turmoil in his work which he called the Modern Life of the Soul. He objectified his own personal experience, transferring it to an extensive statement about the human condition and contemporary society. Camille Claudel, on the other hand, captured human emotions so poetically, giving a different interpretation to the dance of life, conveying all that is beautiful and wonderful in a loving relationship.