Melancholy by Edvard Munch does not refer to one particular work or medium. It began as a pastel drawing in 1891, in 1892 Munch painted several versions and added “Yellow Boat” to the title, and in 1896 he created a woodcarving. These works were set in Asgårdstrand, Norway, where Munch spent most of his summers between 1889 and 1906. The main figure is said to represent writer Jappe Nielsen, who suffered for his hopeless love of Oda Krohg. She is pictured with her newly-married husband, Christian, on the pier. Ironically enough Christian Krohg, Norway’s leading artist at the time, published an article giving the painted version much praise and attention.

I enjoy the pastel sketch the most of the three mediums because I believe that Munch’s ability to portray desperation and melancholy feeling touches the surface of emotion, but both leaves freedom for and encouragingly accepts the honest passionate reaction of the viewer. Jappe’s figure is the most finished portion of the work. Behind him, his memories begin as the canvas unfolds into color and dimension. A darker line extending from the tip of his nose, across the bay and toward the figures seem to connect the two. The characters of his lost love and her new husband seem too painful to remember, thus are barely touched. As is the ocean, which opens up a plethora of opportunities for Oda to sail away and never return.

I enjoy this painting for its external simplicity as well as its complexity of line and movement. The seemingly unfinished canvas leaves a plethora of emotional opportunities for viewers that all revolve around the melancholy Jappe.