THE SICKLY FEMALE BODY IN EDVARD MUNCH’S THE DANCE OF LIFE (1899-1900) A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS by Rebecca McEwen Diploma Date August 2018 Thesis Approvals: Dr. Therese Dolan, Primary Thesis Advisor, Temple University Dr. Sharon Hirsh, Secondary Thesis Advisor, Rosemont College © Copyright 2018 by Rebecca McEwen All Rights Reserved ii ABSTRACT In interpretations of The Dance of Life (1899-1900) by Edvard Munch, the femme fragile and the femme fatale have been considered jointly (i.e. as allusions to the cyclicality of life) or as individuals. Their unique characteristics have been recognized as such: whereas the femme fragile dons white to signify her prepubescent state and thus her innocence, the femme fatale wears red to suggest her sexuality and even her availability. Yet, scholars have failed to probe their iconographical complexities. Doing so would not only lend greater conviction to Munch’s historical identity as a Symbolist (as his archetypes would be recognized for their multivalence), but it would also reveal the didactic possibilities of the work of art itself. Given this void in the literature, the purpose of this thesis will be to elaborate on the formal and narrative qualities of the femme fragile and femme fatale in this painting. These archetypes ultimately allude to misogynistic anxieties, with the femme fragile in particular representing the sickly female body. iii DEDICATION To my parents, Cathie Bunch and Neil McEwen: You reassured me after the first day of kindergarten that I would learn how to read, and you have been there for me at every academic juncture since. Your continuing encouragement and support has enabled me to become successful. Without you, I would not have been able to write this thesis. Words cannot express how grateful I am or how much I love you. Still, thanks. I love you. iv ACKNOWLEDGMENTS Aside from the support of my parents, this thesis would not have been possible without the mentorship and financial aid provided to me by the Art History faculty, not to mention the encouragement of my friends. A special thanks to Dr. Therese Dolan, who literally brought me into the twentieth century. Your seminar on French Symbolism broadened my horizons. To you, I am forever indebted. It was in this class that I met Dr. Sharon Hirsh who, unbeknownst to both of us at the time, would become my secondary reader. What you said during your guest lecture, Dr. Hirsh, clearly resonated with me. From a single exchange of ours, this thesis grew. It is has provided me with much fulfilment. As critical to this process as these advisors were, I would not have been able to transition into the Masters program without Drs. Jane Evans, Ashley West, and Marcia Hall. In your hands, my unique situation was tended to with compassion, understanding, and effectiveness. I cannot thank you enough. Last but not least, I must acknowledge my emotional support system in the form of three wonderful human beings: Kalina Laframboise, Leanna Kolonauski, and Lily Scott. I will never forget how excited you were when I got accepted into this program, Kalina, and your enthusiasm has propelled me forward ever since. Leanna, you have always been there for me when I needed a sympathetic ear the most, or a sarcastic comment for that matter. Same to you, Lily. Though, your vocabulary proved to be particularly useful in the formative stages of this thesis, as you know. To both of you, Leanna and Lily, I am extremely grateful. Done is good. v TABLE OF CONTENTS ABSTRACT……………………………………………………………………………... iii DEDICATION…………………………………………………………………………… iv ACKNOWLEDGMENTS………………………………………………………………... v LIST OF FIGURES…………………………………………………………………….. vii CHAPTER 1. 1. INTRODUCTION……………………………………………………………………... 1 CHAPTER 2. 5 2. SYMBOLIST SENSITIVITIES TO MODERN URBAN LIFE………………………. 5 The New (“Sick”) City & Edvard Munch’s Symbolist Approach……………………...6 Social Concerns About Women………………………………………………………. 16 The Victorian Ideal of Womanhood………………………………………………….. 19 The New Woman……………………………………………………………………... 22 Conclusion……………………………………………………………………………. 25 CHAPTER 3. 27 3. MISOGYNISTIC WORKS OF ART BY EDVARD MUNCH, CA. 1890s…………. 27 The Nature of Women: Misogyny in the Arts & Sciences…………………………… 28 Artistic Statements of Misogyny in the Art and Writing of Edvard Munch…………..30 Munch & His Woman/Women……………………………………………………….. 34 Examples from The Frieze of Life……………………………………………………. 37 Conclusion……………………………………………………………………………. 42 CHAPTER 4. 44 4. EDVARD MUNCH’S THE DANCE OF LIFE (1899-1900)………………………… 44 A Closer Look at the Femme Fragile ………………………………………………… 52 Intersections Between Flowers/Decay in the Art of Edvard Munch……………. 57 Women/Infection…………………………………………………………………60 Proposed Interpretation for The Dance of Life ……………………………………….. 64 Conclusion……………………………………………………………………………. 68 CONCLUSION………………………………………………………………………….. 70 BIBLIOGRAPHY……………………………………………………………………….. 74 FIGURES………………………………………………………………………………... 79 vi LIST OF FIGURES Figure Page 1 Caillebotte, Gustave, Paris: Rainy Day , 1877. Oil on canvas, Art Institute of Chicago ………………………………………………………………………. 79 2 Van Gogh, Vincent, Boulevard de Clichy , 1887. Oil on canvas, Van Gogh Museum, Amsterdam ……………………………………………………........ 79 3 Munch, Edvard, Evening on Karl Johan’s Street , 1892. Oil on canvas, 33 x 47 in. Bergen Kunstmuseum, Bergen ………………………………………... 80 4 Munch, Edvard, Night in Saint-Cloud , 1890. Oil on canvas, 25 x 21 in. Nasjonalmuseet, The Fine Art Collections, Oslo …………………………...... 80 5 Munch, Edvard, Inheritance , 1897. Oil on canvas, 47 x 55 in. Munch- museet, Oslo ………………………………………………………………...... 81 6 Illustration of a baby diseased with congenital syphilis, ca. 19 th century ……. 81 7 Munch, Edvard, The Sick Girl , 1885-6. Oil on canvas, 47 x 46 in. Nasjonalmuseet, The Fine Art Collections, Oslo …………………………...... 82 8 Munch, Edvard, The Dance of Life , 1899-1900. Oil on canvas, 49 x 75 in. Nasjonalmuseet, The Fine Art Collections, Oslo …………………………….. 82 9 Munch, Edvard, The Day After , 1894. Oil on canvas, 45 x 59 in. Nasjonalmuseet for kunst, arkitcktur, Oslo ………………………………....... 83 10 Illustrative example of Hysteria for educational purposes, ca. 19th century. Collection of photographs …………………………………………………..... 83 11 Casas, Ramón, Sífilis , ca. 1900. Color lithograph, 26 x 11 in. Originally printed for Sanatorio para sifilíticos , Barcelona …………………………….. 84 12 Courbet, Gustave, L’Origine du monde (“The Origin of the World”), 1866. Oil on canvas, Musée d’Orsay, Paris ………………………………………… 84 13 Munch, Edvard, The Kiss , 1897. Oil on canvas, 39 x 32 in. Munch-museet, Oslo …………………………………………………………………………... 85 14 Munch, Edvard, Vampire , 1893-5. Various media and sizes ………………… 85 15 Munch, Edvard, Inger by the Window , 1892. Oil on canvas, 68 x 48 in. Nasjonalmuseet for kunst, arkitcktur, Oslo ………………………………....... 86 vii 16 Munch, Edvard, The Alley (also known as The Street/Carmen ), 1895. Lithographic crayon and India ink, 16-17 x 10-10.5 in. Munch-museet, Oslo 86 17 Edvard Munch's exhibition at Kunsthandlung P.H. Beyer & Sohn, Leipzig, 1903. Photograph: Munch-museet, Oslo ……………………………………... 87 18 Edvard Munch's exhibition at Equitable Palast, Berlin, 1892. Photograph: Munch-museet, Oslo ……………………………………………..................... 87 19 Munch, Edvard, Jealousy , 1895. Oil on canvas, 26 x 39 in. Bergen Kunstmuseum, Rasmus Meyer Collection, Bergen ………………………….. 88 20 Munch, Edvard, Ashes , 1894. Oil on canvas. 47 x 55 in. Nasjonalmuseet, The Fine Art Collections, Oslo ……………………………………………............ 88 21 Geometric Amphora from Dipylon, Athens, 8th century B.C.E. National Archaeological Museum, Athens …………………………………………...... 89 22 Munch, Edvard, Summer Night’s Dream (also called The Voice ), 1893. Oil on canvas, 34 x 42 in. Museum of Fine Arts, Boston ………………………... 89 23 Munch, Edvard, Young Woman on the Shore , 1896. Aquatint, 11 x 8 in. Munch-museet, Oslo …………………………………………………………. 90 24 Comparison between a portrait of Larsen and the femme fragile in The Dance of Life ………………………………………………………………………… 90 25 Preparatory Study for The Dance of Life, 1899. Indian ink and crayon on paper ………………………………………………………………………...... 91 26 Detail of the femme fragile in The Dance of Life , 1899-1900. Oil on canvas. Nasjonalmuseet, The Fine Art Collections, Oslo …………………………….. 91 27 Detail of the man’s eyes in The Dance of Life , 1899-1900. Oil on canvas. Nasjonalmuseet, The Fine Art Collections, Oslo …………………………...... 92 28 Munch, Edvard, Eye in Eye , 1894. Oil on canvas, 53.5 x 43 in. Munch- museet, Oslo ..…................................................................................................ 92 29 Munch, Edvard, Puberty , 1894-5. Oil on canvas, 60 x 43 in. Nasjonalmuseet, The Fine Art Collections, Oslo ………………………..……………………... 93 30 Hand-colored print of William Blake’s poem, “The Sick Rose,” originally issued in 1794, later copied in 1826. Fitzwilliam Museum, Cambridge …….. 93 viii 31 Munch, Edvard, Une Charogne (Illustration for “Les Fleurs du mal”), 1896. Pen, brush, wash, pencil, 10 x 8 in. Munch-museet, Oslo ...…………………. 94 32 Munch, Edvard, Blossom of Pain/Quickborn , 1898. Drawing, wash, pencil, crayon, blue, 19 x 13 in. Munch-museet, Oslo ……………………………..... 94 33 Munch, Edvard, Death and the Maiden , 1893. Oil on canvas, 50 x 34 in. Private collection ……………………………………………………………... 95 34 Munch, Edvard, Metabolism , 1898-9. Oil on canvas, 56 x 67 in. Munch- museet, Oslo ………………………………………………………………...... 95 35 Schlittgen, Hermann, Daughter