The composition of the artwork effectively expresses Munch’s personal anxiety, creating a formal tension. At first glance, the artist immediately draws the viewer towards near centre towards the protagonist’s face, with the central characters facial expression enforcing psychological aspects which is the premise.
The salient portrayal of the lone, emaciated figure unmoving on a bridge represents isolation, and as the protagonist clutches his ears, with eyes globular and mouth agape; the viewer automatically connects this showcased isolation to potent symbols of directed psychic agony. The curving rhythm of Munch’s body, transformed into an existential symbol, incorporates itself into the tense rhythm of the environment. As the protagonist cries, his face is deliberately distorted into the contour of a human skull with the intention of building an iconographic association to death. These visual manipulations of the central figure effectively communicate to us the audience the state of the protagonist regarding emotions, and the environment which is allowing for such performances to come to pass.
Behind the central character, panels of a long fence act as appropriate vector lines drawing the eyes of the audience towards a walking couple. The sharp angle of the bridge creates a visual tension within the painting, juxtaposed to the flatness and smoothness of the landscape, predominantly that of the swirling sky and water. The crossing creates a barrier between the central figure and a calm, easy flowing or understanding territory. With the depicted couple seeming to be travelling in an opposite direction relative to the protagonist, we are further hinted to the isolation and alienation of the individual, supplementing to a disparaging type nature of the human condition.
The swirling motion of a blood red sunset drifting above a deep blue-black firth throughout the top half of the painting could perhaps symbolize continuous motion or perhaps a constant unpredictability, the sidelines a barrier from the final draws of insanity. Munch incorporates complementary reds and oranges around cooler tones to emphasise greater fear or uncertainty, wreaking eeriness as well as paranoia, passion & craze. The suggestion of town buildings in the top right hand corner appends to the confusion established after the first glance, concerning a clashing of locations, different environments, or different ‘worlds’, the geometrical position of town buildings subtly implies for the viewer a somewhat remote superiority over the central character. Together inflicting upon one mans temperament or disposition and highlighting the noticeable distinction typical humanity or accepted wisdom holds over the protagonist.
The colours, composition and a vivid use of perspective as well as the surging curves throughout the portrait, and a hollow central figure, together in effect represent the alienation and anxiety, a world imploding, a frighteningly destructive side of the human condition.
