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- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/08%3A_Europe_1800_-_1900/8.10%3A_Symbolism___Art_NouveauAs scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and...As scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and Ingres’ Antiochus and Stratonice for the architectural structuring of the painting’s composition; Jacques Louis David’s The Oath of the Horatii for Salome’s uncharacteristically theatrical gesture of her left hand; Giovanni Bellini’s San Zaccaria Altarpiece for the character’s self-absorbed pose; …
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/08%3A_Europe_(1800_-_1900)/8.10%3A_Symbolism___Art_NouveauAs scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and...As scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and Ingres’ Antiochus and Stratonice for the architectural structuring of the painting’s composition; Jacques Louis David’s The Oath of the Horatii for Salome’s uncharacteristically theatrical gesture of her left hand; Giovanni Bellini’s San Zaccaria Altarpiece for the character’s self-absorbed pose; …
- https://human.libretexts.org/Courses/Housatonic_Community_College/Art_E103%3A_Art_History_III_(1840Present)/02%3A_Becoming_Modern_(c.1840c.1900)/2.09%3A_Symbolism___Art_NouveauI stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and ...I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast infinite scream [tear] through nature.” The figure on the bridge—who may even be symbolic of Munch himself—feels the cry of nature, a sound that is sensed internally rather than heard with the ears.
