Why is "The Scream" screaming? - Noah Charney

Prevodilac: Milenka Okuka Lektor: Strahinja Tomic

An undulating sky melds into the landscape,

Valovito nebo se stapa sa pejzažem,

two silhouettes move along a balustraded walkway,

dve siluete se kreću po šetalištu sa balustradama,

and a ghostly figure’s features extend in agony.

a crte lica sablazni se razvlače u agoniji.

Since Norwegian artist Edvard Munch created “The Scream” in 1893,

Otkako je norveški umetnik Edvard Munk naslikao „Krik” 1893. godine,

it’s become one of the world’s most famous artworks.

postao je jedno od najčuvenijih umetničkih dela na svetu.

But why has its cry traveled so far and endured so long?

Međutim, zašto je njegov vapaj proputovao tako daleko i opstao ovoliko dugo?

Munch was born in 1863, one of five children.

Munk je rođen 1863. godine, kao jedno od petoro dece.

Tuberculosis devastated Europe throughout the 1800s,

Tuberkuloza je harala Evropom tokom 1800-ih,

killing almost a quarter of all adults.

ubivši gotovo četvrtinu svih odraslih.

It took Munch’s mother’s life, then his elder sister’s.

Uzela je život Munkove majke, potom njegove starije sestre.

Soon after, Munch had his own bout of the disease.

Nedugo potom, Munk je i sam imao napad ove bolesti.

Another of his sisters experienced mental illness

Jedna njegova sestra je obolela od mentalne bolesti

and lived much of her life in an institution.

i provela je veći deo života institucionalizovano.

Meanwhile, Munch flitted in and out of school due to illness,

U međuvremenu, Munk je zbog bolesti čas išao, čas izostajao iz škole,

often spending days at home,

često provodeći dane kod kuće,

drawing and listening to the ominous stories his father read aloud.

crtajući i slušajući zlokobne priče koje je njegov otac čitao naglas.

A devout Lutheran, his father considered Munch’s artistic ambitions unholy.

Kao posvećeni luteranac, otac je Munkove umetničke pretenzije smatrao svetogrđem.

“I inherited the seeds of madness,” Munch wrote.

„Nasledio sam seme ludila”, pisao je Munk.

“The angels of fear, sorrow, and death stood by my side

„Anđeli straha, tuge i smrti su stajali uz mene

since the day I was born.”

od dana mog rođenja.”

Eventually, Munch moved to Berlin, where he frequented creative circles

Munk se naposletku preselio u Berlin gde je posećivao umetničke krugove

committed to breaking with academic tradition

posvećene raskidanju sa akademskom tradicijom

and instead developing their crafts organically.

razvijajući umesto toga svoje zanate organski.

While Munch had trained classically,

Iako je Munk imao klasičnu obuku,

he began immersing himself in what he called “soul painting”—

počeo je da se prepušta nečemu što je nazivao „duhovnim slikarstvom” -

compositions that prized raw, subjective affect over realistic rendering.

kompozicijama koje su cenile sirovi, subjektivni afekat

iznad realističnog prikazivanja.

“It’s not the chair that should be painted,” he wrote,

„Ne treba slikati stolicu,” pisao je,

“but what a person has felt at the sight of it.”

„već ono što je osoba osetila kada ju je ugledala.”

Many of Munch’s works dealt with personal suffering.

Mnoga Munkova dela su se bavila ličnom patnjom.

This may have also led to what certain critics observed

Možda je zato došlo do nečega što su određeni kritičari označili

as unsympathetic portrayals of women

kao bezosećajni prikaz žena

in works where Munch represented them as cruel predators victimizing hapless men.

u delima gde ih je Munk predstavio

kao okrutne predatorke koje muče nesrećne muškarce.

And death often haunted Munch’s compositions—

Smrt je takođe često pohodila Munkove kompozicije -

from a skeleton helming a boat to a morbid self-portrait

od kostura koji kormilari čamcem, preko morbidnog autoportreta

and his sister's final moments to a mother on her deathbed,

i poslednjih trenutaka njegove sestre, do majke na smrtnoj postelji

her child assuming a now-familiar expression.

čije dete poprima sada prepoznatljiv izraz lica.

Munch’s art generated controversy—

Munkova umetnost je izazivala kontroverze -

some critics characterizing him as “absolutely demented”—

neki kritičari su ga okarakterisali kao „potpuno poremećenog” -

but it also drew acclaim.

ali je takođe privlačila priznanja.

And what would become his most famous work was just around the corner.

A ono što će da postane njegovo najčuvenije delo, vrebalo je iza ćoška.

“The Scream” was inspired by a moment that overwhelmed Munch

„Krik” je inspirisan trenutkom koji je preplavio Munka

with an acute sense of anguish.

akutnim osećajem patnje.

In a diary entry marked January 22nd, 1892,

U zapisu u dnevniku, označenom kao 22. januar 1892. godine,

Munch described walking with two friends along a fjord

Munk je opisao šetnju sa dvoje prijatelja duž fjorda

overlooking what’s now Oslo at sunset.

sa pogledom na današnji Oslo tokom zalaska sunca.

He leaned against a fence, exhausted, as he saw the sky change suddenly.

Naslonio se na ogradu, iscrpljen, zapazivši kako se nebo iznenada menja.

He described “blood and tongues of fire above the blue-black fjord and the city.”

Opisao je „krv i ognjene jezičke iznad modro-crnog fjorda i grada.”

Dok su se njegovi prijatelji udaljavali,

As his friends walked on, Munch wrote, “I stood there trembling with anxiety—

Munk je zapisao: „Stajao sam drhteći od nespokoja -

and I sensed an infinite scream passing through nature.”

i osetio sam beskrajni krik kako prožima prirodu.”

As with other painful experiences, Munch revisited the scene repeatedly.

Kao i u slučaju drugih mučnih iskustava, Munk se često vraćao sceni.

First, he depicted it with a more recognizably human subject.

Prvo je naslikao lika koji je bio nešto više nalik ljudskom.

But the following year, he surrendered it to dramatic, abstracted symbolism,

Naredne godine, podredio je scenu dramatičnom, apstraktnom simbolizmu,

the haunting expression on the figure’s skull-like face

gde proganjajući izraz lica figure nalik lobanji

meeting the viewer’s gaze directly.

direktno susreće pogled posmatrača.

On this first version, he added a subtle, wry inscription:

Na prvoj verziji, dodao je suptilan, suvoparan zapis:

“Could only have been painted by a madman!”

„Jedino je ludak ovo mogao da naslika!”

Based on Munch’s account, many think the figure isn’t emitting the shriek

Zbog Munkovog zapisa, mnogi smatraju da figura ne oslobađa vrisak

but reacting to it.

već da reaguje na njega.

Munch eventually made four versions of “The Scream”—

Munk je naposletku napravio četiri verzije „Krika” -

all on cardboard, two with pastel, two with paint—

sve na kartonu, dve u pastelnoj tehnici, dve sa uljanim bojama -

and he created numerous prints and lithographs.

i napravio je bezbroj grafika i litografija.

The year following the first “Scream,” he depicted the same setting

Godinu nakon prvog „Krika”, naslikao je isto okruženje,

but featured a collection of despairing faces.

ali nastanjeno sa više očajavajućih lica.

In late 1893, Munch premiered “The Scream” at a solo exhibit in Berlin.

Krajem 1893. Munk je premijerno prikazao „Krik” na samostalnoj izložbi u Berlinu.

The artwork’s bold composition helped fuel the Expressionist movement,

Odvažna kompozicija dela dala je vetar u leđa ekspresionističkom pokretu,

which likewise emphasized stark psychological states,

koji je na sličan način naglašavao ogoljena psihološka stanja,

mapping the emotional contours of World War I and beyond.

iscrtavajući emocionalne konture Prvog svetskog rata i šire.

“The Scream” continued its crescendo.

„Krik” je nastavio svoj krešendo.

When it entered the public domain in the mid-1900s,

Kada je postao javno vlasništvo sredinom 1990-ih,

new renditions and reproductions bolstered its fame.

nove interpretacije i reprodukcije su učvrstile njegovu slavu.

It featured in popular films during the 1990s,

Tokom 1990-ih se pojavljivao u popularnim filmovima,

and both painted versions of “The Scream” were stolen and recovered

a obe oslikane verzije „Krika” su bile ukradene i vraćene

in separate heists in 1994 and 2004.

u različitim pljačkama 1994. i 2004.

Soon enough, it was a widely accepted archetypal symbol for horror and angst.

I ubrzo je naširoko prihvaćen kao arhetipski simbol užasa i nespokoja.

A “Scream”-inspired emoji was eventually implemented.

Emotikon inspirisan „Krikom” je naposletku ustanovljen.

And, considering how to mark hazardous sites so far-off future generations

A razmatrajući kako da obeleže opasna mesta za daleke buduće generacije

could know to avoid them,

kako bi znali da ih izbegavaju,

the US government has considered using “The Scream” expression.

američka vlada je razmatrala da upotrebi ekspresiju „Krika”.

While its myriad cultural influences may not always reflect

Iako mnoštvo uticaja iz kulture možda uvek ne odražavaju

the personal agony Munch initially rendered,

ličnu agoniju koju je Munk prvobitno prikazao,

“The Scream” has certainly found a near universal echo.

„Krik” je zasigurno pronašao gotovo univerzalan odjek.