Description
Separation by Edvard Munch is a symbolist painting from 1894, held under accession number MM.M.00884 by the Munchmuseet in Oslo: the woman is seen in profile and turned away; we hardly see her face, and the body is given as a single bright plane that dissolves towards the lower edge. With us it is made as a hand-painted reproduction in oil, brushed onto canvas; you receive a photograph of the finished work for approval before dispatch, and you choose between ten sizes or a size of your own.
| Title: | Separation |
| Other titles: | Ločitev · Rastanak · Trennung · Separazione · Elválás |
| Painter: | Edvard Munch (1863–1944) |
| Year: | 1894 |
| Original size: | 150 cm x 115 cm |
| Original technique: | Oil on canvas |
| Painting style: | Symbolism |
| Location: | Munch Museum in Oslo (MM.M.00884) |
| Our reproduction: | a hand-painted work in oil, ten sizes from 50 x 40 cm to 231 x 180 cm, stretched on a stretcher bar, unframed |
Separation – Edvard Munch
What is shown?
The woman is seen in profile and turned away; we hardly see her face, and the body is given as a single bright plane that dissolves towards the lower edge. At the right a man stands in a dark blue coat, head bowed, his face pale and drawn, one hand hanging at his side. Between them a shore curves past a small white house, an orange sun hangs low over the water at the left, and beside the man a plant with red leaves climbs upward. The grass is green and blue-green, and the sea is smooth and lighter than the sky. The scene divides in two: the left half open and light, the right closed and dark, and the middle empty grass with only the band of hair running across it. Nothing else joins them.
What is painted on the original?
The paint is laid thin and in broad, soft planes with no worked-up drawing. The hair is one long stroke that thins and branches towards the right. The woman’s outline does not end in a line but blurs into the grass, so that the figure looks as though it were already dissolving. In places the layer is thin enough for the weave of the canvas to show through. The palette is narrowed to white, golden yellow, dark blue and green; the only warm accents are the sun, the hair and the red leaves, and it is those three that carry all the meaning.
Why does this painting matter?
Symbolism works here not through a story but through what is actually visible on the canvas: the palette is narrowed to white, golden yellow, dark blue and green; the only warm accents are the sun, the hair and the red leaves, and it is those three that carry all the meaning. That is why the work belongs to this painting style and not merely to the period it was made in. Munch used the same approach across a run of works from those years, and this is one of them; what makes it worth looking at is the relation between what is painted precisely and what is left open.
What does the painting mean?
We keep to what is visible. The paint is laid thin and in broad, soft planes with no worked-up drawing. What that means the canvas does not say in words, and that is exactly why the work has stayed open to interpretation. There are no names on the canvas and none in the record we hold; anyone who sees particular people or a particular story in the scene is adding it, and we do not claim it. What is beyond dispute is the arrangement and the colour: what is painted, and nothing further.
Where does the work sit among Munch’s works?
The same painterly approach returns in other Munch works on this shelf: Moonlight, Inheritance, Eye in Eye, The Angel of Death. Where exactly this work stands among them is a matter of reading and not of the record; we state only what is on the canvas and in the inventory. The whole range is in the Edvard Munch gallery.
How is our hand-painted version made?
This is a painting on canvas made with brush and oil colour, not with a printer. The painter works from a high-resolution reference and builds the scene from the back forward, layer by layer, so that the transitions between tones stay soft. Because every hand-painted copy is made for its own order, no two match down to the detail; small differences in the laying-on are a mark of the human hand and not a fault. For this work we have no photographs of our own from the workshop, so you will not find any on this page; the photograph of the finished canvas always reaches you for approval before dispatch.
Which size for which wall?
If you are unsure: 130 x 100 cm. The 60 x 46 cm size is the closest of all to the proportion of the original. The format is landscape, so it asks for width, and a narrow wall does not suit it. 50 x 40 cm, 60 x 46 cm, 80 x 60 cm belong in a hallway or among several smaller works, 90 x 70 cm, 108 x 84 cm, 130 x 100 cm are the real painting for the living room or a quiet corner of a bedroom, 150 x 115 cm, 180 x 140 cm, 200 x 150 cm, 231 x 180 cm are for large walls and rooms with enough distance. All ten sizes are made to order; none is held in stock as an already painted work.
Custom size, stretcher bar and frame
If none of the ten sizes suits your wall, we paint to your measurements and keep the proportion of the reference, so the scene is not stretched; that is our painting made to measure. Every example arrives stretched on a wooden stretcher bar, ready to hang; the stretcher bar can be left off at the order. On this page the canvas is offered without a frame; the frame is chosen separately with our 3D application, which shows every one of our frame profiles on this motif. The application is for frame choice only. If you would like to see how the work will look on your own wall, that is our separate room-placement service.
Delivery and guarantee
Every example is made to order in our studio in Slovenia, so allow 15 to 45 days depending on size. We ship it stretched on a wooden stretcher bar and protected for transport, without customs inside the European Union; the frame is not included and is chosen separately with our 3D application, which is for frame choice only. Every canvas painting we make is made the same way, including paintings by famous painters from other periods; we write about Munch’s path in our article on Edvard Munch.
Frequently asked questions
Where is the original?
In Munch Museum in Oslo, under accession number MM.M.00884. We read the detail on the museum’s own record page.
Who or what is shown in the painting?
The woman is seen in profile and turned away; we hardly see her face, and the body is given as a single bright plane that dissolves towards the lower edge. We can name none of the figures: there are no names on the canvas and none in the record we hold.
Is Ločitev the same work?
Yes. The work is listed under several titles across languages, among them Ločitev; what identifies it reliably is the accession number, not the title.
Is this a print?
No. The order is painted by hand in oil colour onto canvas; the brushstrokes can be seen and felt.
Which size should I choose?
The 130 x 100 cm size is our recommendation for an ordinary wall. The 60 x 46 cm size is the closest of all to the proportion of the original. For other walls see the guide above.
Can I have a size that isn’t listed?
Yes, we paint to measure and keep the side ratio of the reference.
How is it delivered?
Stretched on the stretcher bar and protected for transport, in 15 to 45 days, once you confirm the photograph of the finished work.
What is the painting about, in one sentence?
In one sentence: nothing else joins them.
Is the original for sale and what is it worth?
No. The work is in a public collection and is not for sale; we give no value for it, because we have none from a source we could check. A hand-painted canvas is the one way to have this scene at home.
How high should I hang it?
The centre at eye level, roughly 145–150 cm from the floor; above a sofa 15–25 cm over the back. Because the format is landscape, leave some empty wall at the sides.
Is it suitable as a gift?
As a work of art it is a considered gift; in the middle sizes it arrives stretched and ready to hang. If you would rather leave the choice to the recipient, a gift voucher is available.
- Subject: the woman is seen in profile and turned away; we hardly see her face, and the body is given as a single bright plane that dissolves towards the lower edge
- Original: oil on canvas, 1894, 150 cm x 115 cm, Munch Museum in Oslo, inv. no. MM.M.00884
- Ours: a hand-painted work in oil, ten sizes from 50 x 40 cm to 231 x 180 cm, stretched on a stretcher bar, unframed
- Worth knowing: the original measures 150 cm x 115 cm and its format is landscape
