Paper

Student Artwork Guide

Meeting in Space

Name Class Date

Edvard Munch, Meeting in Space (1899), Tel Aviv Museum of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Edvard Munch originaluniqueart.com/en/artists/edvard-munch/
Artist’s dates
1863 – 1944
Painted
1899
Medium
Woodcut The picture is whatever is left standing after the rest of a wooden block is cut away.
Movement
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.
Period
Modern
Held at
Tel Aviv Museum of Art originaluniqueart.com/en/museums/tel-aviv-museum-of-art-tel-aviv/
Artistic style
Symbolic Expressionism
Influences
Symbolism
Notable elements or techniques
Bold colors, simplified forms, broad lines
Subject or theme
Emotional encounter

In context

Meeting in Space — Edvard Munch

When was this painted?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910
  7. 1920
  8. 1930
  9. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 81 at death.

Painted when the artist was 36. The artist lived to 81. 197 of the 410 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Edvard Munch (1863–1944) ▲ this work, 1899 every dated painting, decade by decade

First works: up to 1893 Main working years: 1893–1908 Late works: from 1908

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • The Scream, 1893 originaluniqueart.com/en/art/edvard-munch-the-scream-8XXU48-en/
  • Melancholy, 1894 originaluniqueart.com/en/art/edvard-munch-melancholy-8XXU3N-en/
  • Madonna, 1894 originaluniqueart.com/en/art/edvard-munch-madonna-8YDETZ-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/edvard-munch-meeting-in-space-D487E4-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #14161c

    Catalogued palette

    • #14161C
    • #95331E
    • #404736
    • #826141

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Edvard Munch over the last twelve months — 87 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 24.4%
    2. 2 Spain 14.4%
    3. 3 France 8.7%
    4. 4 United States of America 5.9%
    5. 5 Singapore 4.2%
    6. 6 Hong Kong 4.1%
    7. 7 Italy 3.6%
    8. 8 Brazil 3.2%
    9. 9 Japan 2.4%
    10. 10 Germany 1.8%
    11. · 77 other countries 27.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Edvard Munch

    1. 1 The Scream, 1893 27.6%
    2. 2 Madonna, 1894 8.2%
    3. 3 Melancholy, 1894 6.8%
    4. 4 Near the bed of death (fever), 1915 1.9%
    5. 5 The Child and Death, 1899 1.8%
    6. 6 Kiss, 1897 1.3%
    7. 7 Ashes, 1894 1.1%
    8. 8 Girls on the Pier, 1904 1.0%
    9. 9 Jealousy, 1895 0.9%
    10. 10 The Day After, 1895 0.9%
    11. 11 Christmas in the Brothel, 1905 0.9%
    12. 12 The Dance of Life, 1899 0.8%
    13. 13 Madonna, 1894 0.7%
    14. 14 The Girls on the Bridge, 1901 0.7%
    15. 15 Man and Woman I, 1905 0.6%
    16. 16 Self-Portrait, 1895 0.5%
    17. 17 Cree (casein on cardboard) 2, 1893 0.5%
    18. 18 Jealousy, 1907 0.4%
    19. 19 To the Forest, 1897 0.4%
    20. 102 Meeting in Space, 1899 this painting 0.2%

    Together these works take 57.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 629 works by this artist, of which 478 were looked at at least once. This painting ranks 102 of them, with 0.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Meeting in Space — Edvard Munch

    Meeting in Space – An Exploration of Munch’s Expressionist Vision

    Edvard Munch's *Meeting in Space*, created in 1899, stands as a cornerstone of Expressionism—a movement that prioritized subjective experience and emotional intensity over objective representation. More than just a depiction of two figures adrift in an ethereal expanse, it’s a profound meditation on anxiety, isolation, and the unsettling confrontation with inner demons – themes deeply rooted in Munch's personal struggles and powerfully conveyed through his distinctive artistic language.

    Composition & Form: The diagonal placement of the figures immediately establishes a dynamic tension. Munch eschews traditional perspective, flattening the space to heighten the feeling of vulnerability and disorientation. Simplified forms—elongated bodies rendered with broad strokes—emphasize movement and contribute to the artwork’s dreamlike atmosphere.

    Color Palette & Texture: The stark contrast between the deep navy blue/black backdrop and the vibrant green and red hues is crucial. Munch utilizes color not merely for visual appeal but as a vehicle for emotional expression; the green symbolizes vitality yet feels strangely unsettling, while the red embodies passion and danger. Lithographic printing lends a grainy texture to the print, mirroring the psychological turmoil depicted within.

    Symbolism & Emotion: The figures themselves are likely symbolic representations of internal states—perhaps representing opposing forces battling for dominance or embodying the anxieties inherent in human existence. Munch’s masterful use of color and line communicates profound emotional depth, capturing a palpable sense of dread and longing.

    Technique – Lithography: Munch skillfully employed lithography, a technique known for its ability to reproduce images with remarkable precision while retaining subtle tonal variations. This process involved transferring ink from a stone or metal plate onto paper, resulting in an image that possesses both visual richness and textural nuance—a testament to the artist’s technical prowess.

    Historical Context & Munch's Influences

    Created during a period of significant artistic upheaval, *Meeting in Space* reflects the broader anxieties surrounding modernity. Munch was deeply influenced by Symbolism and Nietzschean philosophy—ideas that questioned traditional beliefs and championed individualism. These intellectual currents fueled his exploration of psychological themes and informed his stylistic choices, cementing his place as one of the most important artists of the late 19th century.

    Analyzing Munch’s Expressionist Style

    Munch's approach to painting transcends mere visual representation; it aims to evoke visceral emotional responses in the viewer. He achieves this through distorted forms, exaggerated colors, and expressive brushstrokes—elements characteristic of Expressionism’s core tenets. *Meeting in Space* exemplifies this stylistic commitment, inviting contemplation on themes of fear, vulnerability, and the inescapable confrontation with inner darkness.

    A Legacy of Emotional Intensity

    *Meeting in Space* continues to resonate powerfully today due to its uncompromising honesty and profound psychological insight. Its haunting imagery—coupled with Munch’s masterful technique—serves as a timeless reminder of the human capacity for experiencing intense emotion and grappling with existential questions. Reproductions offer an opportunity to appreciate this masterpiece's enduring beauty and intellectual depth.

    Artist and museum

    Artist

    Edvard Munch

    Born in Adelsbruk, Sweden

    A Life Shaped by Loss

    Edvard Munch arrived in the world in 1863, born into the stark landscapes of Norway. His early years were defined by a heavy presence of grief that would later find its way onto his canvases. The deaths of his mother and his sister, Sophie, both taken by tuberculosis, left a deep mark on his young mind. These losses created a preoccupation with mortality and the fragility of life that stayed with him forever. He grew up in a household where the shadows of sickness were never far away.

    His father, Christian, was a physician who struggled with intense religious devotion and mental instability. This atmosphere of dread and the vivid ghost stories told in his childhood helped shape his later visions. Munch did not merely paint what he saw; he sought to externalize his internal state. He called this approach soul painting. It was a way to translate psychological distress into visual form, using the colors and shapes of his own experience.

    The Path to Expressionism

    Munch began his formal studies at the Royal School of Art and Design in Kristiania, which is now known as Oslo. During this time, he moved within bohemian circles that challenged the strict rules of academic art. A significant influence was Hans Jæger, a nihilist who encouraged Munch to abandon conventional styles and instead focus on his own subjective emotions. This shift led him toward the development of Expressionism.

    Travels through Europe brought new perspectives to his work. In Paris, he encountered the techniques of artists like Paul Gauguin and Vincent van Gogh, particularly their use of color. In Berlin, his connections with figures such as August Strindberg further pushed his investigations into psychological themes. He began to move away from naturalistic representation, opting instead for distorted forms and rhythmic lines that could communicate the tremors of human existence.

    Themes and Lasting Impact

    Much of his work belongs to a series he called The Frieze of Life, where he explored the recurring cycles of love, fear, death, and anxiety. Some of his most recognized paintings include:

    The Scream: A work from 1893 that uses swirling, fiery landscapes to represent existential dread.

    Madonna: A piece that explores themes of sexuality and mortality.

    The Sick Child: A poignant reminder of the loss of his sister.

    Puberty: An exploration of the physical and psychological changes of youth.

    Munch was a highly active printmaker, using techniques like etching, lithography, and woodcut to expand his reach. He possessed over one thousand paintings at the time of his death in 1944. His ability to confront the darker aspects of the human condition helped pave the way for later movements like German Expressionism. Today, much of his legacy is preserved in the Munch Museum in Oslo, where his work continues to speak to the complexities of the human psyche.

    Museum

    Tel Aviv Museum of Art

    On show in Tel Aviv, Israel

    A Beacon of Creativity on the Mediterranean Shore

    Nestled within the vibrant heart of Tel Aviv, a city pulsating with artistic energy and historical significance, stands the

    Tel Aviv Museum of Art

    —a true testament to Israel’s flourishing cultural landscape. More than simply a repository for masterpieces, TAMA, as it is affectionately known, breathes life into art, fostering dialogue, inspiring generations, and serving as a vital link between the nation's past and its dynamic present. Its story begins not in grand halls, but within the modest walls of Tel Aviv’s first mayor’s home, a space imbued with the echoes of a nation forging its identity. It is a poignant reminder that this institution witnessed the very signing of Israel’s Declaration of Independence in 1948. Today, housed in a striking modern building inaugurated in 1971 and expanded over the years, TAMA serves as a bold architectural statement that perfectly complements the treasures held within its walls.

    The museum experience extends far beyond the gallery walls, offering spaces where art meets the natural world and everyday life. The

    Lola Beer Ebner Sculpture Garden

    provides a serene outdoor oasis, allowing visitors to contemplate works from the collection amidst lush greenery and carefully considered landscaping. Here, sculptures interact with shifting natural light and shadow, creating an ever-changing visual experience that integrates fine art into the fabric of daily existence. Whether one is standing before

    Roy Lichtenstein’s

    monumental mural, “Look Closely,” which dominates the entrance foyer with its bold Pop Art energy, or wandering through the quietude of the garden, TAMA remains a vital force in shaping the future of culture.

    A Tapestry of Global and Local Masterpieces

    The museum's collection is an astonishing tapestry woven from threads of diverse artistic movements spanning the 20th and 21st centuries. Visitors are invited to embark on a journey through the evolution of modern art, moving from the delicate, luminous brushstrokes of Impressionist masters like

    Monet

    —which evoke serene landscapes bathed in ethereal light—to the audacious geometries of Cubism pioneered by

    Picasso

    and

    Braque

    . A deep dive into Surrealism reveals the dreamlike, often unsettling visions of

    Joan Miró

    and

    René Magritte

    , while explorations of Abstract Expressionism showcase the raw emotion and gestural intensity of titans such as

    Pollock

    and

    Rothko

    .

    For the discerning collector or interior designer, the museum offers a masterclass in how different eras of visual language can coexist to create a profound aesthetic impact. A cornerstone of TAMA’s international acclaim is undoubtedly the remarkable

    Peggy Guggenheim Collection

    , a generous donation made in 1950 that brought an extraordinary array of Abstract and Surrealist works into its holdings. This collection, featuring iconic pieces by

    Jackson Pollock, Yves Tanguy, and Roberto Matta

    , offers a concentrated dose of artistic innovation—a glimpse into the radical shifts in perspective that defined the era. Beyond these established global giants, TAMA’s true strength lies in its commitment to showcasing Israeli art. This dedication illuminates the nation's complex cultural identity, tracing the development of local artists from the pioneering days of the pre-state Zionist community through to the cutting-edge expressions of contemporary creators today.

    Where to read more

    Find this online

    QR code linking to the download page for Meeting in Space

    originaluniqueart.com/en/art/download/edvard-munch-meeting-in-space-D487E4-en/

    Cite this artwork

    MLA
    Munch, Edvard. Meeting in Space. 1899, Tel Aviv Museum of Art. https://originaluniqueart.com/en/art/edvard-munch-meeting-in-space-D487E4-en/
    APA
    Munch, Edvard (1899). Meeting in Space [Painting]. Tel Aviv Museum of Art. https://originaluniqueart.com/en/art/edvard-munch-meeting-in-space-D487E4-en/
    Chicago
    Edvard Munch. Meeting in Space. 1899. Tel Aviv Museum of Art. https://originaluniqueart.com/en/art/edvard-munch-meeting-in-space-D487E4-en/
    Harvard
    Munch, Edvard (1899) Meeting in Space. Tel Aviv Museum of Art. Available at: https://originaluniqueart.com/en/art/edvard-munch-meeting-in-space-D487E4-en/

    Look closely

    Meeting in Space — Edvard Munch

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: space, emotion, symbolism. Do you agree? What would you add, or take away?
    5. Look back at The Scream (1893), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is a download available for "Meeting in Space"?

    A download is available for "Meeting in Space": the artwork's Download page offers a high-resolution digital image download.

    How saturated is the palette of "Meeting in Space"?

    The colors of "Meeting in Space" by Edvard Munch have a muted saturation. Saturation describes how vivid or muted the colors are.

    Can I see "Meeting in Space" by Edvard Munch under different lights?

    "Meeting in Space" can be examined layer by layer on the artwork's X-Ray page, a viewer inspired by a conservator's light bench with eleven optical readings of the image.