tension rises

First off, I love, love, love this painting and have for quite some time.

Edvard Munch. The Scream. 1893. Tempura and casein on cardboard, 36 X 29". Munch-Museet, Nasjonalgalleriest, Oslo.

From the subject matter to the brush strokes to the colors, The Scream, quite simply, screams. The bloody red sky evokes horror, anguish and pain. Here a very open palette is used, but the complementary color harmonies that are very near to each other, the reds touch greens and the oranges lie adjacent to blues, intensify each other. The swarming lines of the landscape background nearly obliterate a horizon line. The diagonal bridge creates even more unsteady tension. The harsh brushstrokes of bleeding colors magnify the tension to an even greater level. And finally the focal point, with such shock upon its face, screams in sheer terror. 

Theodore Gericault. The Raft of the Medusa. 1818-19. Oil on canvas, 16' 1 3/4" X 23' 9". Musee du Louvre, Paris. 

Diagonals are also heavily prevalent in The Raft of Medusa. Nearly all the lines of the distressed bodies  are diagonal in orientation. The ropes and sail, too, are at diagonals. The steadying line of the horizon is nearly entirely obstructed from view. The stormy clouds, thrashing sea, and withering bodies all depict agony and torture, which is only to continue for the wind is carrying the raft away from any and all hope of survival the men may have when sighting a rescue ship in the distance.