between the clock and the bed

All Photos By Gail

Jasper Johns began to incorporate a cross-hatch pattern in his paintings after seeing it on a car: “It had all the qualities that interest me — literalness, repetitiveness, an obsessive quality, order with dumbness, and the possibility of a complete lack of meaning.” Using encaustic, a method of paint that suspends pigment in hot wax, Johns created lush, layered paintings with richly textured surfaces.

Edvard Munch, Self-Portrait Between the Clock and The Bed

Between The Clock and The Bed (1981) reference’s Self-Portrait Between The Clock and The Bed (1940 – 43), one of artist Edvard Munch’s last works.

Jasper Johns Photographed in the Museum of Modern Art NYC. Edvard Munch Photographed in the Met Breuer, NYC.

Photo By Gail

This work — part of the exhibit Between the Clock and the Bed at The Met Breuer — is a precursor to the first version of Edvard Munch’s famous painting, The Scream (1893). In fact, the artist later referred to it as “the first Scream.” On January 22, 1892, while in Nice, where he painted Sick Mood at Sunset, Munch recorded in his diary and event that had taken place years earlier in Norway:

“I was walking along the road with two friends. The sun set. I felt a tinge of melancholy. Suddenly, the sky became a bloody red. I stopped, leaned against the railing, dead tired and looked at the flaming clouds that hung like blood and a sword over the blue-black fjord and city. My friends walked on. I stood there trembling with fright. And I felt a loud, unending scream piercing nature.”

The dramatic diagonal perspective of the railing emphasizes the figure’s isolation and despair.

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Modern Art Monday Presents: Jasper Johns, Between The Clock and The Bed

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Modern Art Monday Presents: Edvard Munch, Sick Mood at Sunset

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