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Puzzle Lurlo Di Much 1000 Pezzi Dtoys Puzzle Arte

Puzzle Lurlo Di Munch Dettaglio Quadro Cornice

Additional information

Number of pieces	1000 piece puzzle
Brand	D-Toys
Atmosphere	Surprising
Artist	Munch
Opportunity	Gift
art museum	Munch Museum, Oslo
Dimensions of the work	63 cm x 86 cm
Difficult	Difficult
Puzzle Dimensions	68 cm x 47 cm
Box Dimensions	38 cm x 26.5 cm x 5.5 cm
EAN	5947502872832 01
Artistic movements	Expressionism

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Home / Shop / Munch’s The Scream Puzzle – 1000 pieces

Munch’s The Scream Puzzle – 1000 pieces

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24,90€

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Discover the style of modern art and challenge yourself with Munch’s famous 1000-piece puzzle The Scream.
Puzzle Art, thanks to the new splendid edition of the D-Toys brand, is pleased to offer you this art puzzle that pays homage to the great Norwegian artist who was able to express his pain with his brush.

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Puzzle Features

The Scream by Munch puzzle will help you discover the most famous example of Expressionist art in history. Indeed, the Scream by Munch puzzle is a wonderful way to enter into an intimate relationship with the emotive and powerful brushstrokes of the great Norwegian artist.

With this wonderful 1000-piece art puzzle from D-Toys , you can discover the full force and energy of Munch’s faces and forms. The drawing fades, the lines become unreal and profound, the colors aggressive and disturbing.

This puzzle is suitable for both experienced puzzlers and beginners thanks to its two-dimensionality and widespread popularity. The color areas are bold and well-defined, yet leave plenty of room for details to be discovered.

This painting is the emblem of emotional exploration , profound inner solitude, and the tumultuous journey undertaken in the search for serenity amid the difficulties of illness and death. An inner scream, terrified by a fiery sky, is expressed on canvas in one of the greatest works in the history of art.

Munch's The Scream Puzzle in Detail

Munch’s 1000-piece The Scream puzzle from D-Toys is a splendid example of a modern art puzzle.
The great painting by the great Norwegian master of Expressionism is the greatest example of Expressionist art.
The colors of the puzzle are very bright and the details are extremely accurate and refined. The puzzle pieces are sturdy and fit together well.

	Number of pieces 1000		Brand D-Toys
	Puzzle dimensions (cm) 68 x 47		Box dimensions (cm) 38 x 26.5 x 5.5

Description of the artwork

The roots of Munch’s art are anchored in a vision of reality profoundly permeated by the looming and anguished sense of death. Munch’s The Scream is undoubtedly the most famous of his works and one of the most subtly disturbing of the entire century. The profound meaning of the painting, created in 1893, is described by the artist himself in some pages of his diary:

I was walking along the road with two friends when the sun set, and the sky suddenly turned blood red. I stopped and leaned, exhausted, against a fence. Blood and tongues of fire were visible over the black and blue fjord and the city. My friends continued walking, and I was still trembling with fear, feeling a great, infinite scream pervading nature.

Munch starts from the abandonment of all traditionalism . Drawing is abolished, chiaroscuro is abolished.

Expressionism , especially Munch’s Expressionism , tends to remove all objective reality from the world and transfer it to the personal sphere.

Behind the violent colors, which can also be found in Munch’s The Scream puzzle we propose, the summary forms and angular modeling, the true and immortal Northern European soul reappears. This vision of the world is inextricably linked to Gothic culture, with its yearning for religiosity, and to Baroque culture, which represents a sort of refined evolutionary variant of the former.
So, if the motivations of Expressionism are contemporary, deeply rooted in a society where class conflicts have created unemployment and devastating imbalances, the technical means to give them form have ancient origins.

Munch's The Sick Girl

The first example of Munch’s expressionism is found in Munch’s painting Sick Girl , where the artist recalls the agony and premature death of his little sister Sophie.
The scene depicts a red-haired girl in bed, her back resting on a huge white pillow. Nearby, perhaps kneeling, is a female figure with her head bowed.

The two figures are silent. The girl opens a glassy, hallucinatory eye, a harbinger of misfortune, and her left hand is caressed by those of the woman. The intertwining of these hands, outlined with a few, rapid strokes of color, is not at all random: anyone can see how it falls perfectly at the intersection of the two hypothetical diagonals, therefore at the geometric center of the painting.
The room’s perspective is narrow. The bed seems squeezed between the bedside table and a wall, draped with a greenish curtain.
The air is heavy, almost stale. Munch wants us to smell the illness, the stuffiness, the pungent aromas of syrups and medicines. The only light comes from the pillow and the girl’s pale face.

But it doesn’t look like reflected light: it’s as if the pillowcase and the skin were emitting their own intrinsic, ghostly luminescence.

In place of the naturalistic description of the bodies, the artist substitutes simple color sketches, outside of any previously experimented rule; even all the conventions of academic drawing and highlighting are transgressed.

Munch’s representational intentions are new and different. He wants to represent feelings, not material things, and even the characters are nothing more than shells of passions or anguish.

Munch's The Scream

Munch’s The Scream, which is the subject of the puzzle Munch’s The Scream, is undoubtedly the most famous of Munch’s works and one of the most subtly disturbing of the entire century.

The profound meaning of the painting, created in 1893, is described by the artist himself. He later recounted that he was walking along the road with two friends when the sun set. Suddenly, the sky turned blood red.
Munch stopped and leaned, exhausted, against a fence: over the blue-black fjord and the city lay blood and tongues of fire. His friends continued walking, and he was still trembling with fear and felt a great, infinite scream pervading nature.

The man in the foreground expresses, in the solitude of his individuality, the collective drama of humanity as a whole. The bridge, whose perspective fades into the horizon, recalls the myriad obstacles each of us must overcome in our lives, while the supposed “friends” who continue walking, oblivious to our dismay, represent with stark disillusionment the falsity of human relationships.
However, as always in Munch, the contents are never separated from the form and here the form loses any naturalistic residue, becoming prey to the artist’s deepest anxieties.

The man who raises his terrible scream, tall and unheard, is a serpentine being, almost skeletonless, made of the same filamentous material as the fiery sky or the oily sea. In place of a head, there is a huge, repulsive skull, hairless, like that of a survivor of a nuclear catastrophe. The nostrils are monstrously reduced to two slits, the wide-open eyes seem to have seen a foul abomination, the black lips recall the putrefying corpses.

The painting, which caused a huge sensation, was actually part of a more complex work, a sort of grandiose cyclical narrative, entitled the Frieze of Life and composed of numerous canvases in turn divided into four major themes: The Awakening of Love, Love That Blossoms and Passes, Fear of Living, and Death.

Munch’s desperate and primal scream, issuing from that tormented mouth, resonates through the convulsive folds of color of the sky, the earth, and the sea. It is the scream of someone lost within themselves and feeling alone, useless, and desperate, even (and above all) among others.

Evening on Karl Johann Street

Edvard Munch ‘s strength can be perceived in Evening on Karl Johann Street , a painting executed in 1892 and then exhibited, in the same year, at the unsuccessful Berlin exhibition.

The scene depicted is supposed to be that of a quiet evening stroll along the main thoroughfare of ancient Christiània, the lively and vibrant center of the city’s economic and political life. Munch interprets the ritual of the stroll , typical of a certain bourgeois milieu, as a horrific procession of wide-eyed ghosts . Of the characters’ humanity, only their external attributes remain: the men’s serious top hats and the ladies’ whimsical hats. The faces, however, are skeletal masks , dark incarnations of mysterious and terrifying forces.

The resulting impression is that of a ferocious attack on the bourgeoisie and its empty rituals, which even involve Parliament (the building on the right, in the background), whose unnaturally yellow windows look like sinister eyes checking that everything goes according to plan.

The only element of disharmony , and therefore of opposition, is the figure walking on the right , an uncertain and solitary shadow. In Munch’s simple and highly effective symbolism , it represents the artist himself, the one who, heedless of the consensus of the masses, nevertheless rows against the current. We don’t see his face, it’s true, but we can be certain that it has the face of a man and not a skeleton .