Therefore, when Jayne connects Munch’s view of women in his art as being linked to Darwinism, it seems to be more of an attempt to contextualise Munch with twenty first century attitudes towards differences between the sexes, as seen at the end of her essay, where Jayne summarises thus: While he does state that “the chief distinction in the intellectual powers of the two sexes is shewn by man’s attaining to a higher eminence, in whatever he takes up, than can woman, whether requiring deep thought, reason, or imagination, or merely the use of the senses and hands”, he does not emphasis that one is more superior to the other. Jayne believes that, “aspects of Munch’s art reflect an awareness of Darwinian concepts of sexual difference-as well as a number of other “scientifically based” theories of sexual differences which stressed the female’s procreative capabilities, inclinations, and obligations.” (3) In The Descent of Man, (4) Darwin makes the comment that, “Woman seems to differ from man in mental disposition, chiefly in her greater tenderness and less selfishness”. Jayne specifically mentioned a number of paintings that are directly linked to the way in which women were being thought of during the “long nineteenth century”(2), courtesy of the studies of Charles Darwin, and Herbert Spencer. In an essay published by the Women’s Art Journal in 1989, entitled “ The Cultural Roots of Edvard Munch’s Images of Women”,(1) Kristie Jayne explored the way social and economic mores of the late 19th century impacted on the art that Munch produced and, in particular, the way in which we should perceive the women in the art as being “passive procreators”.
It is almost simplistic to assume that his output was this obvious his symbolism was not only connected to the way in which he had been brought up, but also by the way in which he lived his adult life in direct opposition to the traditions of his society.
Much has been written on Edvard Munch’s personal relationships with women from his familial roots with mother and sister, through to his sexual encounters and the way in which they fed into his art. With an exciting exhibition opening at the British Museum and the fact that a year ago I was in Oslo exploring Munch, it seems to be the right time to share the essay I was inspired to write after an intense conversation about Munch’s portrayal of women in his paintings.
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