plate no. 2261

Jealousy

oil, canvasExpressionismsymbolic paintingfiguretreesgardenportraitsymbolismfoliage

what to study here

It shows how a whole composition can be organized around one pale shape against related darks, with hue carrying emotion while value stays controlled.

Look at how the picture is built from two value masses. The pale face of the bearded man in the right foreground is the single bright anchor; nearly everything else sits in darks and dark midtones. Squint and the composition reduces to face against dark. The couple in the background, a woman in a red dress and a dark-clothed man, are pressed against dense foliage, so the space feels compressed rather than open. Notice that the red dress is bright in hue but only mid-to-dark in value, so it does not compete with the face. The warm orange-red left edge is the brightest, warmest passage and works as a frame. Study the darks themselves: brownish-reds in the foreground man's clothing against green-blacks in the foliage separate the planes without highlights. Check the brushwork too. Foliage is dragged, directional strokes that suggest rather than describe leaves. The face is more deliberately modeled but still angular. Small red dabs punctuate the greenery. Edges vary: crisp where the dress meets the trees, softer where it falls into shadow.

key decision

Munch held nearly the whole canvas in dark, related values and reserved the pale face as the only bright anchor. The saturated red dress was kept mid-to-dark in value so it stays secondary to the face.

From the record

Dimensions: 67 cm high × 100.5 cm wide
Institution: Art Museums of Bergen
Location: Art Museums of Bergen
Inception: 1895
Materials: oil paint, canvas

jealousy

Wikipedia article Wikidata item Q16939042

from the sources

Munch made at least 11 painted versions of Jealousy, returning to the image throughout his life. en.wikipedia.org
“Munch returned to this image throughout his whole life - he completed no less than 11 painted versions of Jealousy.”
The first painted version of Jealousy was made in 1895 and the last in the 1930s. en.wikipedia.org
“The first painting was executed in 1895, and the last was made during the 1930s.”
Munch also made four lithograph versions and one drypoint of Jealousy. en.wikipedia.org
“Munch also created four lithograph versions and one drypoint of Jealousy.”
The 1895 oil on canvas version, described as perhaps the most famous, is housed at the Rasmus Meyer Collection in Bergen and measures 67 by 100 cm. en.wikipedia.org
“The 1895 oil on canvas painting, perhaps the most famous version, is now housed at Rasmus Meyer Collection, Bergen and it measures 67 cm (26 in) by 100 cm (39 in).”
Eight painted versions of Jealousy are held by the Munch Museum in Oslo. en.wikipedia.org
“In addition, eight painted versions are possessed by the Munch Museum in Oslo and one version is located at the Städel Museum in Frankfurt am Main (on loan from a private collection).”
A version titled Jealousy in the Bath, made between 1898 and 1900, was sold at Sotheby's in 1982 and is now in a private collection in London. en.wikipedia.org
“Another version, executed between 1898 and 1900, titled Jealousy in the Bath was sold at Sotheby's in 1982 and is now a private collection in London.”

recreation guide

Edvard Munch’s *Jealousy* (1895) is a seminal work of Symbolism and early Expressionism, characterized by its psychological intensity rather than realistic depiction. Munch returned to this motif throughout his life, creating at least 11 painted versions, indicating a deep engagement with the theme of emotional turmoil and interpersonal tension (Source 3). The work is defined by Munch’s rejection of strict realism in favor of conveying inner states, influenced by his exposure to Paul Gauguin’s belief that art should not imitate nature but express human work and emotion (Source 4). The painting utilizes oil on canvas, a medium that allows for the rich, dense color and layered application necessary to achieve the atmospheric and symbolic effects Munch sought (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow earth tones)	Primary pigments for underpainting and glazing	Standard artist-grade oil paints
Linseed oil or Poppy seed oil	Binder and medium for glazing	Refined linseed oil or walnut oil for slower drying
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas, primed
Varnish (optional, for final protection)	Protection and depth of color	Dammar or synthetic resin varnish

preparation

surface prep

Prepare a standard oil-primed canvas. Munch’s practice in this period involved working directly on prepared surfaces, often leaving the ground visible or using it as a tonal base. While specific priming recipes for this exact canvas are not detailed in the sources, the general practice of the time involved oil grounds to facilitate the layering techniques described (Source 2).

underdrawing

Munch’s preparatory methods are not explicitly detailed in the provided sources for this specific work. However, given his interest in graphic arts and woodcuts (Source 4), he likely employed a loose, expressive underdrawing rather than a rigid academic sketch. It is advisable to use a thin wash of oil or charcoal to establish the basic forms of the figures and the spatial arrangement without committing to hard lines.

underpainting

Employ a grisaille (monochrome underpainting) technique. According to traditional methods relevant to Munch’s era and the sources provided, one should mentally extract red and yellow colors, painting the form in neutral tones (black, ultramarine, white) to establish value and structure (Source 1). This layer must be allowed to dry completely before proceeding to color application.

color palette

Ultramarine/Black/White

Ultramarine, Ivory Black, Titanium White

Grisaille underpainting to establish form and value (Source 1)

Red/Yellow Tones

Vermilion, Cadmium Yellow, or Earth tones

Glazing and scumbling to introduce warmth and emotional intensity, applied over the dry grisaille (Source 1)

Green/Blue Accents

Viridian, Phthalo Blue

General use in Munch’s palette to create contrast and atmospheric depth, consistent with his symbolic style (Source 4)

composition

The composition likely emphasizes the psychological tension between figures rather than precise spatial realism. Munch was influenced by the use of color to convey emotion (Source 4). The arrangement should focus on the interaction of forms and the use of color contrast to evoke the feeling of jealousy, rather than strict anatomical accuracy. The sources do not describe specific visual details of the room layout or clothing patterns, so the composition should rely on general principles of visual ordering, such as the use of line and shape to guide the eye and create emotional impact (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the basic forms of the figures and the spatial layout on the primed canvas using a thin oil wash or charcoal. Focus on the emotional posture and interaction rather than fine detail.
Tip — Keep lines fluid and expressive, avoiding hard edges.
Loose underdrawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white. Establish the light and shadow structure of the scene. Mentally extract red and yellow tones, focusing on value contrast.
Tip — Ensure this layer is completely dry before proceeding. This prevents muddying the subsequent glazes.
Grisaille

first pass

step 03
Begin glazing with transparent coats of red and yellow tones over the dry grisaille. Use oil as a medium to allow for smooth application and blending.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying form.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness where needed, particularly over darker grounds. This technique allows the underlying painting to show through, creating a grey bloom or atmospheric effect.
Tip — Watch for the interaction between the semi-opaque layer and the dark underpainting to achieve the desired emotional tone.
Scumbling

finishing

step 05
Adjust color contrasts and intensities. Munch’s style involves using color to convey emotion, so enhance the symbolic impact of the hues. Ensure the balance between warm and cool tones reflects the psychological tension of the scene.
Tip — Refer to the principles of simultaneous contrast to harmonize colors and enhance their emotional effect.
Color contrast

varnishing

step 06
Once the painting is fully dry, apply a varnish to protect the surface and unify the sheen. This step is consistent with traditional oil painting practices.
Tip — Use a varnish mixed with resin if desired for texture and protection, as noted in general oil painting techniques.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was practiced by old masters and is relevant to Munch’s layered approach (Source 1).

Scumbling

Using semi-opaque paint over a darker ground to create a cold, grey bloom effect. This technique allows the underlying structure to influence the final color, adding complexity and atmosphere (Source 1).

Symbolic Color Use

Munch used color to convey emotion rather than realistic depiction, influenced by Gauguin and other modern artists. This involves selecting hues for their psychological impact rather than their naturalistic accuracy (Source 4).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddying and loss of clarity (Source 1).
→Overworking the paint, losing the expressive quality of the initial layers. Munch’s style values emotional immediacy over polished finish (Source 4).
→Ignoring the contrast between warm and cool tones, which is essential for creating the atmospheric and emotional depth characteristic of Munch’s work (Source 1, Source 7).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of the 1895 *Jealousy* painting, such as exact clothing patterns, facial expressions, and room layout, are not described in the provided sources.
·Munch’s specific pigment choices for this particular canvas are not detailed, though general period practices are inferred.
·The exact sequence of layers for this specific work is not documented, so the guide relies on general Munch practices and traditional oil painting techniques.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color theory and contrast principles

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General materials and varnishing
Wikipedia: Jealousy (Munch)↗
- Jealousy (Munch) — part 1 — applied to Context of the artwork and Munch’s repeated engagement with the theme
Wikipedia bio — Edvard Munch↗
- Edvard Munch — part 6 — applied to Influence of Gauguin and use of color for emotion

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A pale-faced man with reddish beard dominates the right foreground, his haunted gaze directed toward a couple in the background—a woman in a brilliant red dress and a dark-clothed man, both compressed against dense dark foliage. The left edge glows with intense warm orange-red, suggesting an architectural or interior frame that encloses the scene. Small red flower or blossom marks punctuate the shadowy greenery above and behind the figures, and a blue-gray band runs along the top edge. Light rakes across the foreground face and catches the woman's dress, while the surrounding foliage and figures remain deep and shadowed, creating psychological claustrophobia.

value structure

The painting is structured on a dramatic split: the foreground face reads as pale midtone against nearly black foliage; the woman's red dress, though bright in hue, is a mid-to-dark value that doesn't blow out because it sits against black trees; the left margin is the brightest, warmest passage; everything else clusters in darks and dark midtones. Squinting reveals two clear value masses: the pale face (single bright anchor) and nearly everything else (deep, dark, related darks). The subtle shifts within those darks—brownish-reds in the foreground man's clothing versus green-blacks in the foliage—convey depth without high-key highlights.

observed palette and mixes

#c4814c
burnt sienna + titanium white + cadmium yellow
left margin glow and warmest passages
#4a1a14
alizarin crimson + burnt umber + viridian (slight)
deep burgundy in foreground man's clothing and hair
#703c1e
burnt umber + cadmium red + viridian
shadowed flesh tones and mid-dark accents
#080403
ivory black + burnt umber
deepest foliage and background silhouettes
#1a1912
viridian + burnt umber + trace ivory black
dark forest green in trees and background
#30090a
alizarin crimson + ivory black
red dress shadows and darkened reds

edges and brushwork

Foliage is rendered with loose, directional strokes that suggest rather than describe individual leaves—greens and blacks are dragged and worked with visible marks that convey movement and emotion rather than botanical accuracy. The face is more deliberately modeled but still simplified; flesh tones are blended but the structure remains angular and expressive. Transitions between the pale face and dark background range from soft to sharp; the red dress has crisp edges where it meets foliage but softer blending into shadow. Small red accents (flowers or branch marks) are executed with quick, gestural dabs of pure color.

a working sequence

01
Establish the dark foundation
Block in the entire background and foliage using deep greens and blacks. Work loosely—this is the dark stage where you establish the claustrophobic mood. Let your strokes be visible and gestural, not smooth. The foliage should feel like it's pressing in from all sides.
02
Paint the warm left edge
Apply the bright orange-red glow along the left margin. This warm passage contrasts sharply with all the cool-dark tones and acts as a visual anchor. Keep the transition soft into the darker areas—this is not a hard line but a glowing edge.
03
Block in the background couple
Silhouette the woman in her red dress and the man in dark clothing against the foliage. Keep them simplified and shadowed—they should read as shapes, not detailed figures. The woman's dress is your brightest red; don't make it garish, but let it read as a warm accent against black trees.
04
Paint the foreground face
Block in the pale flesh tones of the man's face in the right foreground. Use muted peachy and ochre tones mixed with white—this is your main light shape and emotional anchor. Keep the modelling simple: suggest bone structure with minimal midtone shifts. The reddish beard should read as a warm accent, not a detailed study.
05
Develop flesh and refine the gaze
Work back into the face with warmer and cooler shadows. The eye line is critical—even though the features are simplified, his gaze must be legible and melancholic. Darken the shadows around the eyes, nose, and cheekbones. Let the reddish beard suggest stubble and fatigue rather than being literally painted.
06
Articulate the red dress with layered reds
Build the woman's dress with layers of red—deep burgundy in shadow, brighter cadmium reds where light catches it. Use dry-brush or visible strokes to convey fabric folds; let the brushwork show. The dress should feel luminous against the black foliage, but never chalky or pure.
07
Add foliage texture and red flower accents
Return to the foliage and add small red marks—flowers, berries, or lit branch tips—with quick, gestural dabs. Drag and scumble lighter greens and yellows into the dark foliage to suggest depth and movement. Keep the handling loose and expressive; don't render individual leaves.
08
Adjust edges and final integration
Step back and assess value relationships. Darken any areas where the face appears to float unrealistically; strengthen the contrast between the pale forehead and surrounding shadow. Soften or sharpen edges as needed to push and pull spatial recession. The painting should feel psychologically enclosed and claustrophobic, not open or restful.

where studies of this painting go wrong

Overworking the face into photorealism or anatomical precision—this painting's power comes from expressive simplification, not likeness. Keep features suggested and angular.
Rendering foliage as individual leaves or detailed botanical forms instead of gestural, shadowy masses. Munch uses quick marks and directional strokes; don't get precious.
Making the red dress too bright, saturated, or isolated from the rest of the color harmony. It must feel integrated with the muted, earthy palette, not like a separate accent.
Losing the psychological claustrophobia by making the background too atmospheric or spacious. The foliage should feel like it's pressing in; the composition should feel compressed, not airy.
Undercooking the foreground man's emotional state. His expression and gaze are the painting's emotional center; if the face reads as neutral or pleasant, the entire meaning collapses.

measured difficulty