The Sick Child, 1885 Encaustic Bouquet #22, 2017 The Scream, 1893

Edvard Munch Timothy Meyerring Edvard Munch

Oil on Canvas Encaustic on canvas Oil, tempera, pastel and crayon on cardboard
137 × 139 cm 40.64cmx50.8cm 91 cm × 73.5 cm

Comparative Study
Carolyn Vang
Introduction: The comparative study is a focus on the comparison between two separate artists and three total artworks. Context,
formal qualities, choices and style will be evaluated between the pieces. Within this study, Timothy Meyerring’s work Club
Bouquet, Edvard Munch’s The Scream and The Sick Child will be compared and contrasted. These pieces will influence the works
of the author, Worry and Flower Cycle. The additional works by the author of the comparative study will also be compared and
contrasted against their chosen artists of inspiration. The research of Edvard Munch’s The Scream and The Sick Child was primarily
conducted with books. These books included details that would help further my analysis on the pieces. The research conducted on
Timothy Meyerring is from a personal interview and the information from sites relating to him.
 Evaluation of Cultural Significance of Timothy
Meyerring
Timothy Meyerring (Timo) is a local Milwaukee artist. He labels himself as an contemporary
abstractionist artist because his artworks are modern looking while also having the meaning
of the piece be abstract to the viewer. In order to practice his artistic ability, he travelled to
places such as Barcelona, Paris and New York, has helped him explore more of fine art
concepts such as form and explore more mediums. Timothy had stated in a personal
interview that he started to create works by using encaustic techniques because of his
experience of playing with fire when he was younger.1 The cultural concepts that inspire his
works are the ancient greek mythology.2 From his inspiration, he has also used materials
such as beeswax to incorporate into his works. Overall, he experiments with multiples
mediums and techniques such as oil painting, acrylics and encaustic. A common feature
within his flower paintings is the use of texture which is created by using layers of paint.
Another technique would be using encaustics to create the flowers.
Within his works, he would focus on the element of nature since they are his favorite
Encaustic Bouquet #22, 2017 subjects to portray his meanings through. Artworks such as Encaustic Bouquet #22 pertains
Timothy Meyerring the main figure of flowers. Meyerring tries to make the viewer feel happiness within the
Encaustic on canvas
flowers and the message of moving forward in life. He tries to convey this message by
40.64cmx50.8cm
painting the flowers outward or using vibrant hues against a dark background.

1,2
Interview with Timothy Meyerring [Personal interview]. (2017, October 20).
 Analysis of Formal Qualities & Techniques: Timothy
Meyerring The hues of the flowers are vivid warm
and cool hues. The warm hues are meant
Within “Encaustic Bouquet #22” the
to provoke the feelings of warmth and
concept of happiness is abstract but
joy. The cool hues are the purple and blue
expressed through the figures of flowers in
colors which create a type of calm and
a flower vase.
balance between the types of colors.
These colors create contrast between the
The background is a cream colored background of the piece.
background with a brown frame. The
background is meant to create
emphasis on the colors and the
flowers. The lighter part of the The lines are stems that are close
background allows the viewer to see together at the base of the vase
the stems of the flowers clearer. and reach outwards towards the
borders of the work to create
Encaustic Bouquet #22, 2017 motion. This motion creates a
The rough texture of the vase and
Timothy Meyerring feeling of excitement or joy
background contrast the smooth, flat and
Encaustic on canvas because of how the stems sprout
colorful drips for the flowers. The colored
40.64cmx50.8cm out from the vase.
wax used for the vase was spread with a flat
tool to create the texture and shape of the
vase. The same is done to the background
which creates a rough texture.
 Interpretation of Function and Purpose of
Club Bouquet
Timothy Meyerring focuses on using
flowers and their beauty to provoke
ease and joy from the viewers. The
texture and vivid colors of the wax and
paint are used to present the piece as
eye pleasing. In an interview with
Meyerring, he says that he intended for
his artworks to be beautiful and unique
from other pieces of art. The intent of
the piece is to convey emotions and
create emotions from the audience. This
was represented by how the stems of
the flowers moved outwards to
represent how things will move
forwards.
Meyerring’s usage of both warm and
cool hues creates contrast against each
other and the background. The piece
wants to convey the feeling of joy while
creating an aura of serenity.
According to a review by Chris and Karen
Phelps, they said that ,”I find something new
every time I look at Timo's work, a shadow, a
new color, a depth, or a whimsical twist all
intertwined to create the perfect emotion.”
1
Timothy Meyerring is able to successfully
make a piece of work that is aesthetically
pleasing and create a feeling of joy from the
audience.
Encaustic Bouquet #22, 2017
Timothy Meyerring
Encaustic on canvas
40.64cmx50.8cm
Moore, S., Didier, J., O'Connor, M., J., Marx, L., Levihn, J., . . . Colman, C. (2014, August
25). Timo (Timothy Meyerring). Retrieved September 27, 2017, from
http://reach150.com/m/review/28355/timo-gallery-timo-milwaukee-wi-artist
 Evaluation of Cultural Significance of Edvard Munch

Edvard Munch was

an expressionist artist from
the late 20th century. The
main theme of his art focuses
on mental illness and
emotions. This recurring
theme was apparent in his
works because of negative The Sick Child, 1885
life experiences and his Edvard Munch The Scream, 1893
mental illnesses. Events Oil on Canvas Edvard Munch
within his life would inspire 137 × 139 cm Oil, tempera, pastel and crayon on cardboard
the works such as The Sick 91 cm × 73.5 cm
Child and The Scream. His
sister, Sophie, was bedridden
with tuberculosis and died. The Scream was another artwork based on a personal experience of Munch. Munch was on a walk
Her death impacted him with some friends and nearby was the asylum and slaughterhouse. The screams of animals being slaughtered
greatly and Munch created along with the screams of the patients were reported to be terrible to hear. Munch quotes ,”...I heard a huge
works from her passing. extraordinary scream pass through nature.” Within many of his works, he played with the motion of the lines
Edvard states, “The only and brushwork. The pieces often express and has emotional value. Within his pieces, Munch uses nature
influences for The Sick
related elements to help express the topic of mental illness by manipulating the scenery to be more twisted. In
Child… were the ones that
came from my home...my many of his pieces, there are some types of nature elements in the background such as The Scream.
childhood and my home.” 1 1
Prideaux, S. (2014). Edvard Munch: Behind the Scream. 85.
 Formal Analysis of qualities of The Scream
The usage of the color red represents
wrath and anger. Even water, which
is usually expressed as calm, is The movement of the lines
colored red. The red color in the show a fluid movement which
piece represents the blood flowing can be interpreted as the body
through the waters and landscapes. of water. The lines also
The colors are meant to help horrify resemble sound waves which
the audience and create a fearful could be the screams in the
atmosphere. piece. Nature is usually an
element that is calm but
within this piece, nature
The main focus is the figure with an inhuman seemed as angry and anxious
appearance. The railings are slanted to create a perspective as the figure. It was if a
that leads the viewer’s eyes towards the figure. The main The Scream, 1893 scream was passing through
figure have incredibly pale skin with contrasts the Edvard Munch nature.1 The contrasts
background. There is the expression of fear and distress Oil, tempera, pastel and crayon on cardboard between the warm hues and
shown on the figure’s face. The features on the face are 91 cm × 73.5 cm cool hues create tension in
The Scream.
exaggerated and elongated. The distorted figure helps
create an unsettling feeling which contributes to the
anxious tone of the piece. Their hands cover over its ears
as if trying to block out the screams of nature. The figure
is androgynous to create more emphasis that it belongs Cordulack, S. W. (2002). Edvard Munch and the physiology of symbolism. London:
with nature and that it isn’t human. Associated University Presses. Retrieved October 25, 2017.
 Interpretation of Purpose and Function of The
Scream
He projected his inner distress into
The intent of The Scream by Edvard
nature which is shown in his work. The red
Munch was to express his current emotions after
holding in so much for several years. He hues within the piece promote a feeling of
states,”And for several years I was almost mad- anger and unrest. The color also represents
that was the time when the terror of insanity blood rushing through the rivers. The figure
reared up it’s twisted head…”1 He was at his in the piece is a surrogate to show the reaction
breaking point and within this artwork, he towards the chaos of the background.
expresses his overwhelming emotions into The
The Scream is meant to be unsettling for the
Scream. Emotions are usually portrayed into his
works such as The Scream. Munch also audience. The figure within the piece does not
states,”We paint souls.”2 The work represents look human and seems inhuman. The features
the soul stripped away from the body. of the figure are elongated and exaggerated to
create an effective expression of emotions
The Scream, 1893 such as insanity and anxiety.
Edvard Munch
Oil, tempera, pastel and crayon on cardboard
91 cm × 73.5 cm

1,2
Prideaux, S. (2014). Edvard Munch: Behind the Scream.
 Formal Analysis of Qualities of The Sick Child
The girl has translucent
skin which contrasts her red hair
but nearly blends into the pillow
hue. A usage of warm hue
contrasts the primary usage of
cool hues. The warm hues, such as
red and the skin tone, make the
young girl distinct from the
background. The primary use of
the cool hues creates a melancholy
atmosphere.
The shadows within the piece
are darker on the right side of
the piece but then gradually
get lighter which creates
emphasis on the girl. Most of
the light seems to radiate from
the girl so it makes the girl the
primary focus in the piece.
Deep grooves are scored in multiple layers of
paint and it suggests the nervousness of
Edvard Munch and his work methods.1 The
main figure is shown to be a young girl stuck
in her hospital bed. Another figure that
resides next to her appears to be a woman.
The woman has their head facing downwards
which represents their sorrow for the future
of the child. They grieve for the girl having a
terminal sickness. The hidden face of the
woman gives emphasis on the hopelessness
of the situation. The figure puts their hand
close to the young girl so that they could
The Sick Child, 1885 keep a direct physical connection.
Edvard Munch
Oil on Canvas
137 × 139 cm
1
Bischoff, U. (2016). Munch. Slovakia: Taschen.
 Interpretation of Purpose and Function of the Sick
Child
The creation of this piece was meant for Edvard
Munch to express the death of his sister. The girl within the
painting is sick due to tuberculosis. It is also inferred that the
young girl is meant to portray his sister that was sick with
tuberculosis. The woman who resides near the girl is meant
to be their aunt. The overall atmosphere of the piece is
melancholy. The major use of blue-green creates a feeling of
sickness. The lighting is dim which creates the effect of
losing hope. Edvard channels the grief within the piece and
tries to emphasize the importance of his sister’s sickness.
When he created this artwork, Munch referred to that
time as the “Age of Pillows”.1 The Age of Pillows refers to
the time where artists would create works of art involving
sick children on their pillows. While the piece also refers to
The Sick Child, 1885
the death of his sister, it also references the deaths of other
Edvard Munch
children.
Oil on Canvas
137 × 139 cm

1
Bischoff, U. (2016). Munch. Slovakia: Taschen.
 Compare & Contrast of Qualities and Techniques:
Encaustic Bouquet #22 & The Scream
Similarities
● A contrast of cool
hues with warm
hues allow the
pieces to display
emotion and which
figures in the pieces
Encaustic Bouquet #22, 2017 are important.
Timothy Meyerring ● Nature is a The Scream, 1893
Encaustic on canvas significant figure Edvard Munch
40.64cm x 50.8cm used within both of Oil, tempera, pastel and crayon on cardboard
the pieces. 91 cm × 73.5 cm
● Main figure of a flower ● Abstract looking ● Shorter brush strokes that create
● Brushstrokes are mainly flat ● Figures are within movement
● Murky the center of the ● Uneven distribution of warm hues and
● Lively against a earthly background piece cool hues
● Aesthetic value ● Both pieces use the ● Single figure
motion of the lines ● More usage of warm hues to bring about
to express a type of anger
emotion.
Comparison of Purpose and Context between The
Scream and Encaustic Bouquet #22
Similarities

● Nature is
involved
● Use of organic
shapes make
them appear more
Encaustic Bouquet #22, 2017 natural
Timothy Meyerring ● Both are in touch The Scream, 1893
Encaustic on canvas with human Edvard Munch
40.64cmx50.8cm emotions Oil, tempera, pastel and crayon on cardboard
● Both try to 91 cm × 73.5 cm
● Mainly aesthetic value
● Emotion in the piece is express strong ● Focused on the mental illness of a human
expressed through the emotions through ● Horror element of the piece
movement and color of the their subjects ● Grotesque
piece instead of conveying ● Loneliness
emotion through the figure. ● Focuses on a single figure and their
● Focuses on creating emotion anguish
instead of having a concrete
meaning
 Compare & Contrast of Qualities and Techniques:
Encaustic Bouquet #22 & The Sick Child
Similarities

● Similar warm and

cool hues are used
● Figures are within
the center of the
pieces
● Both pieces have The Sick Child, 1885
Encaustic Bouquet #22, 2017
an asymmetrical Edvard Munch
Timothy Meyerring
balance Oil on Canvas
Encaustic on canvas
● Warm hues signify 137 × 139 cm
40.64cmx50.8cm
any life that
● Main figure is a vase with flowers contracts the dull
● Technique of using melted wax to hues
create the flowers ● More visible brushstrokes within the piece
● Shadows of the painting are faint dark ● Greater usage of cool hues over warm hues
hues ● Painting was created with
● Warm hues are used to ● Main figure are two human beings
● Movement from the brushstrokes are ● Movement is shown in the brushstrokes that
created so the lines shoot outwards are vertical
from the vase
 Comparison of purpose and Context between The Sick Child and
Encaustic Bouquet #22
Similarities

● Provokes emotions
from the viewers
● The warm hues
give attention to
the living figures
Encaustic Bouquet #22, 2017 of the piece
Timothy Meyerring
Encaustic on canvas The Sick Child, 1885
40.64cmx50.8cm Edvard Munch
Oil on Canvas
137 × 139 cm
● Meaning is more abstract
○ Flowers moving outwards from the
vase means to be positive and ● Physical illness
move onwards ● Sorrow
● Mood is meant to be calming but happy ● Oncoming death to a loved one
● Focuses more on the experience of the ● Intention to be more relatable towards the
audience people who are dealing with a terminal
● Flowers are alive which makes the piece sickness of a loved one
more lively
 Compare & Contrast of Qualities and Techniques:
The Sick Child & The Scream
The Sick Child, 1885
Edvard Munch
Oil on Canvas
137 × 139 cm
● Shadows are used to draw attention
towards the two figures of the piece
● Two human looking figures are the
main focus of the piece
● Lines and strokes are primarily
straight
● Setting lacks a nature figure
Similarities
● Both artworks focus on
the feelings of the beings
● Warm hues and cool
hues contrast each other
to create focus onto the
figure
● Usage of oil paints on the The Scream, 1893
media Edvard Munch
● Motions of the strokes of Oil, tempera, pastel and crayon on cardboard
paint lead the audience’s 91 cm × 73.5 cm
gaze towards the main ● More usage of warmer hues
figures ● Figure within the piece is gender ambiguous and
does not seem human.
● Lines are rounder and wavy which creates
motion
● Figure is near a body of water which is related to
nature
● Grotesque
● Dark hues are centered within the painting
 Comparison of purpose and Context Between “The
Sick Child and The Scream
Similarities

● Both works focus on the

emotions of the beings
○ Grief,anxiety
and loneliness
● Artworks give emphasis
to a type of illness
The Sick Child, 1885 ● The artworks were The Scream, 1893
Edvard Munch inspired by a specific Edvard Munch
Oil on Canvas event of Edvard Oil, tempera, pastel and crayon on cardboard
137 × 139 cm Munch’s life 91 cm × 73.5 cm

● Topic of the artwork is physical ● Focuses on mental illnesses

illness and grief ● Grotesque feeling
● Relates to the death of Munch’s ● Overall piece is meant to be unsettling for the
sister audience
● Sorrow for another person ● Horror elements implied
● Companionship before death ● More natural elements to show that nature
reflects on the mental state of the figure
Connection of Technique & Qualities Between Edvard Munch and my works
Edvard Munch’s works influenced the
techniques and style choices of my
works such as Worry. I incorporated
qualities of Munch’s artwork into my
piece Worry.
The lines and texture of
The Sick Child and Worry
are similar to each other
since they have a fuzz like
texture. The texture creates a
dream-like effect to the works which
represents how strong the emotions
are. The hues of the grass in
Worry are also a similar hue to The
Sick Child. The cool hues contrast
against the warm colors to create some
balance in Worry so it wouldn’t be
only one hue. The usage of red was
The figures used in the pieces are
humans or humanoids. There is focus
on the human’s mental state of being.
The Scream, 1893
Edvard Munch
Oil, tempera, pastel and crayon on
cardboard
91 cm × 73.5 cm
The expression made by the figure in the
Scream influenced the face in my piece
Worry. Both expressions represent the
anxiety felt by the figure. However, my
figure is more human looking to represent
me having anxiety.
A choice by Munch’s that I have incorporated
into my works is the composition of the piece.
The figures within Edvard Munch’s works are
near the center of the piece which I
Worry incorporate in Worry. This brings attention
60.96cmx91.44cm towards the figure as all details bring attention
Digital Manipulation to the figure.
September, 2016
 Connection of Purpose, function and material Between Timothy
Meyerring and personal works

The Sick Child, 1885

Edvard Munch Worry The Scream, 1893
Oil on Canvas 60.96cm x 91.44cm Oil, tempera, pastel and crayon on cardboard
137 × 139 cm Digital Manipulation 91 cm × 73.5 cm
September, 2016 by Edvard Munch

The main theme within Edvard Munch’s works are illnesses which connects to my own work’s theme. Similarly, my work Worry primarily
focuses on my anxiety. My anxiety affects my mental health negatively. Like in The Scream, there is high tension and anxiety within both pieces.
Within The Sick Child, there is focus on the physical illness which is different from Worry. However, all three pieces focus on the emotional
aspects of the themes. All three works reflect on negative emotions such as fear, anxiety and despair. The works also appear dream like and
surreal. The main figures are humans or humanoids which hints that the works reflect on human experiences. However, there is a difference of
the mediums used for Worry and Munch’s works. Worry was created as a digital manipulated work since it would be easier to manipulate the
colors and create a similar texture to Munch’s works. Munch’s works are traditional artworks that utilises material such as oil paints.
 Connection of Technique & Qualities Between Edvard Munch and
my works
Timothy Meyerring is a local artist that influenced my
techniques and qualities within my works. I attempt to
utilise Meyerring’s usage of contrasting hues, technique,
texture and composition for my piece, Flower Cycle.
Since the figure is placed in the center of the piece in
Encaustic Bouquet #22,Flower Cycle is also placed in
the center. There are similar hues between the two
pieces since they utilize both cool and warm hues. They
are bright and are vivid against the neutral tones of the
backgrounds.
The techniques are not the same but the
intentions for the techniques are similar. While
Encaustic Bouquet #22 uses melted wax to create
texture, Flower Cycle uses drips of paint to create a Encaustic Bouquet #22, 2017
Flower Cycle similar splatter effect and texture. Encaustic on canvas
60.96cm x 60.96cm The main figures within both of the pieces are 40.64cm x 50.8cm
Acrylic Painting flower vases. The flowers within Encaustic Bouquet #22 Timothy Meyerring
October 2017 are more spread out and less crowded. However, Flower
Cycle replicates the movement in Encaustic Bouquet #22
with the flowers moving more outwards to the borders.
Similar in stylistic choice, there is a roughly painted
border like Meyerring’s piece.
 Connection of Purpose, function and material Between Timothy
Meyerring and personal works
The intentions for Encaustic Bouquet #22 was to
provoke joy from the viewer and to present the
message of moving forwards in life. This was reflected
in the direction the flowers were going. The flowers
were reaching towards the ends of the canvas which is
a representation of moving forwards in life. My work,
Flower Cycle has a similar message to Encaustic
Bouquet #22 because the message is growing up and
moving forward from the temporary happiness in
childhood.
There are vivid colors such as bright yellow and
orange which represent joy. However, there are cool
hues such as the dark blue in Encaustic Bouquet #22 or
the blue-green flowers in Flower Cycle that balance
the colors. The cool hues represent the calmness in life. Encaustic Bouquet #22, 2017
Flower Cycle Encaustic on canvas
60.96cm x 60.96cm The figure used within the pieces are flowers in vases.
There is a difference in the representation of the 40.64cm x 50.8cm
Acrylic Painting Timothy Meyerring
October 2017 flowers. Within Flower Cycle, the flowers in the vase
represent the cycle of life since flowers bloom and then
decay. However, the flowers in Encaustic Bouquet #22
are for aesthetic purposes.
 Connection to Personal Work: Cultural Context and
Significance

The Sick Child, 1885 Flower Cycle Worry The Scream, 1893
Edvard Munch 60.96cm x 91.44cm Encaustic Bouquet #22, 2017
60.96cm x 60.96cm Edvard Munch
Oil on Canvas Digital Manipulation Encaustic on canvas
Acrylic Painting Oil, tempera, pastel and
137 × 139 cm September, 2016 40.64cm x 50.8cm
October 2017 crayon on cardboard
Timothy Meyerring
91 cm × 73.5 cm

There are inspirations from Timothy Meyerring’s and Edvard Munch’s backgrounds that has affected the creation of my
pieces. The past of Edvard Munch was about his mental illness or physical illnesses affecting his family. This is reflected
in my work, especially in Worry, which focuses on my anxiety. Similarly, the context behind Timothy Meyerring’s
motivation to create artworks influence my piece Flower Cycle, which is an experimental piece. Meyerring plays around
with the texture and tries to create something new. I replicated this by playing around with the techniques within Flower
Cycle. There are differences between the cultural contexts between my work and my inspirations. My themes in Worry
and Encaustic Bouquet #22, relate to growing up and handling life situations. While Munch’s pieces had relationships to
life, he did not focus on growing up. Timothy Meyerring’s piece is more about joy and provoking feelings.