The Kiss IV 1902

Editor: We’re looking at Edvard Munch’s “The Kiss IV,” created in 1902. It's a monochrome woodcut. I’m struck by how the figures almost melt into one another, shrouded in shadow. What do you see in this piece that I might be missing? Curator: Oh, it's a moody embrace, isn't it? Almost claustrophobic. I feel like I’m eavesdropping on something deeply private, and it is very consistent with his interest in how we experience life events. Consider the technique. The woodcut gives it this raw, almost primal feel, doesn't it? Like he’s carving away at the surface to expose something vulnerable. You can feel it right down to the wood grain, can’t you? A certain struggle. The stark contrast of light and shadow emphasizes the emotional intensity, making us think about the complex dynamics of love and intimacy. Is it tenderness, or is there some underlying anxiety there? Editor: I see what you mean. There is something uncomfortable about the scene. I didn’t really notice the woodgrain before; it adds another layer of rawness. So do you think Munch is presenting a romantic ideal here, or is it something more complicated? Curator: Romantic ideal? I don't know. Maybe Munch wants us to question what we think that even is. Maybe he just wants to reveal a feeling that is very strong, something more like yearning than fulfilled love. I think we might both need a little existential therapy after staring at this print too long! Editor: Haha, definitely. Thanks for pointing out the nuances! I will never look at this piece the same way. Curator: My pleasure! I love how art can be both beautiful and unsettling. Something to hold onto.