The picture
See National Gallery of Norway
Artist Edvard Munch, Year 1893; 133 years ago, Type Oil, tempera, pastel and crayon on cardboard, Movement Proto-Expressionism, Dimensions 91 cm × 73.5 cm (36 in × 28.9 in), Location National Museum and Munch Museum, Oslo
The Scream is an art composition created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik (‘Scream’), and the German title under which it was first exhibited is Der Schrei der Natur (‘The Scream of Nature’). The agonized face in the painting has become one of the most iconic images in art, seen as representing a profound experience of existential dread related to the human condition. Munch’s work, including The Scream, had a formative influence on the Expressionist movement.
Munch recalled that he had been out for a walk at sunset when suddenly the setting sun’s light turned the clouds “a blood red”. He sensed an “infinite scream passing through nature”. Scholars have located the spot along a fjord path overlooking Oslo and have suggested various explanations for the unnaturally orange sky, ranging from the effects of a volcanic eruption to a psychological reaction by Munch to his sister’s commitment at a nearby lunatic asylum.
From https://en.wikipedia.org/wiki/The_Scream, August 2026
Cited by Jacques Lacan
Seminar XV, Annex I – Session of 19th June 1968, See this site /4 Jacques Lacan (19680619)
19.6.68 p7 of Cormac Gallagher’s translation : To this relation of the subject to the Other, psychoanalysis contributes a radically new dimension. It is more than what I called just now, called just now, like that, a discovery. A discovery still preserves something anecdotal about. This is a profound modification of the whole relationship.
There is a word that I brought in here a few years ago, into this dialectic. It is the word truth. … where one can read these terms: ‘Me, the truth, I speak.’
Who? The I that is speaking? This piece, in truth a prosopopoeia[iii], one of these Enthusiastic games that I happened to allow myself to articulate for the centenary of (302) Freud [iv], and at Vienna. It was rather a scream of the order of what Münch[v] put so well into a celebrated engraving, this twisted mouth in which we see arising the sublime annihilation of a whole landscape.
[iii] From Wikipedia, August 2026, A prosopopoeia (Ancient Greek: προσωποποιία, /prɒsoʊpoʊˈpiːə/) is a rhetorical device in which a non-human element speaks or is spoken to as a human. The term derives from the Greek words prósopon (transl. face, person) and poiéin (transl. to make, to do. Prosopopoeiae are used mostly to give another perspective on the action being described.
[iv] The Situation of Psychoanalysis and the Training of Psychoanalysts in 1956 : 1956 : Jacques Lacan. Also in Écrits : 1966 : Jacques Lacan. See this site /4 Jacques Lacan (19560101) [This quote is one of several possibles]
p391 of Bruce Fink’s translation, Thus I will say that Freud’s discovery is the truth that the truth never loses its rights, and that, although it may hide its claims even in the domain destined to the immediacy of instincts, its register alone allows us to conceptualize the inextinguishable duration of desire, a feature of the unconscious which is hardly the least paradoxical, even though Freud never gives it up.
[v] See above
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This picture is also on the picture slider and at Sigmund Freud’s & Jacques Lacan’s use of the Pictures shown in the Slider : first posted 8th February 2023 : Julia Evans, see this site /August of this year or last’s.