The Day After

The Day After is a significant 1894 print by Edvard Munch (Norwegian, 1863-1944). This impression, created when the artist was deeply engaged with intaglio techniques, was printed by the collaborative efforts of Sabo, Angerer, and Felsing. The complex medium utilizes a combination of drypoint and open bite etching, executed in rich black ink. Technically sophisticated, the image is printed on lightweight ivory wove paper, which was then meticulously laid down onto a heavyweight off-white wove paper using the French technique of chine collé.

Munch considered printmaking integral to his artistic production, often using the medium to disseminate and refine the psychologically charged compositions first explored in his paintings. This piece reflects themes of consequence, isolation, and introspection that defined the artist’s output during the Symbolist period. Created in Norway during a time of intense artistic experimentation, the work’s stark contrast and visible lines inherent to the drypoint process heighten the sense of raw emotional atmosphere. Through such graphic works, Munch ensured his highly modern, emotionally resonant vision reached a wide audience.

The meticulous attention to detail in the printing, especially the use of the chine collé method, demonstrates the high quality of these early fine art prints. The ability to create multiple impressions allowed Munch to solidify his place in the burgeoning modernist movement. Today, the enduring cultural importance of such pieces means that images of the work often enter the public domain, benefiting scholars globally. This seminal impression is classified within the esteemed collection of the Art Institute of Chicago.