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Few faces in art seem so alive to their own unease as the woman who haunts Edvard Munch’s The Sin. With her ungoverned hair and fever-bright eyes, she seems less a sitter than an apparition, one of those figures that flicker between desire and dread in Munch’s work. Painted in 1902, she embodies a turn-of-the-century anxiety: the sense that the self, like the soul, could be both illuminated and undone by longing.
On this pillow, her spectral presence is rendered in rust and ochre tones, an autumnal palette that feels equally at home among candlelight and shadow. The linen-feel fabric softens her intensity, but not her stare; she remains a reminder that beauty, in Munch’s world, was never free of consequence.
• 22” x 22”
• 100% pre-shrunk polyester case
• Fabric with a linen feel
• Hidden zipper
• Machine-washable case
• Polyester insert included (handwash only)
Few faces in art seem so alive to their own unease as the woman who haunts Edvard Munch’s The Sin. With her ungoverned hair and fever-bright eyes, she seems less a sitter than an apparition, one of those figures that flicker between desire and dread in Munch’s work. Painted in 1902, she embodies a turn-of-the-century anxiety: the sense that the self, like the soul, could be both illuminated and undone by longing.
On this pillow, her spectral presence is rendered in rust and ochre tones, an autumnal palette that feels equally at home among candlelight and shadow. The linen-feel fabric softens her intensity, but not her stare; she remains a reminder that beauty, in Munch’s world, was never free of consequence.
• 22” x 22”
• 100% pre-shrunk polyester case
• Fabric with a linen feel
• Hidden zipper
• Machine-washable case
• Polyester insert included (handwash only)