UNITED STATES PATENT AND TRADEMARK OFFICE (USPTO)
`OFFICE ACTION (OFFICIAL LETTER) ABOUT APPLICANT’S TRADEMARK APPLICATION
`
`*79137561*
`
`CLICK HERE TO RESPOND TO THIS LETTER:
`http://www.uspto.gov/trademarks/teas/response_forms.jsp
`
`(cid:160) (cid:160)(cid:160)(cid:160) U.S. APPLICATION SERIAL NO. 79137561
`(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160) MARK:
`(cid:160)(cid:160) (cid:160)(cid:160) (cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) APPLICANT: Rosmersholm as
`(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT’S REFERENCE/DOCKET NO :(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160) (cid:160) (cid:160)(cid:160)(cid:160)
`
`(cid:160)(cid:160)(cid:160) CORRESPONDENT ADDRESS:
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160) (cid:160)(cid:160) Rosmersholm as
`(cid:160) (cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160) (cid:160)(cid:160) Pilestredet 94 c
`(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160) N-0358 Oslo
`(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160) NORWAY
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`(cid:160) (cid:160) N/A
`
`(cid:160)(cid:160)(cid:160) CORRESPONDENT E-MAIL ADDRESS:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`OFFICE ACTION
`
`STRICT DEADLINE TO RESPOND TO THIS LETTER
`
`NTERNATIONAL REGISTRATION NO. 1179290
`
`(cid:160)I
`
`STRICT DEADLINE TO RESPOND TO THIS NOTIFICATION:(cid:160) TO AVOID ABANDONMENT OF THE REQUEST FOR
`EXTENSION OF PROTECTION OF THE INTERNATIONAL REGISTRATION, THE USPTO MUST RECEIVE A COMPLETE RESPONSE
`TO THIS PROVISIONAL FULL REFUSAL NOTIFICATION WITHIN 6 MONTHS OF THE “DATE ON WHICH THE NOTIFICATION
`WAS SENT TO WIPO (MAILING DATE)” LOCATED ON THE WIPO COVER LETTER ACCOMPANYING THIS NOTIFICATION.
`
`(cid:160)I
`
`n addition to the Mailing Date appearing on the WIPO cover letter, a holder (hereafter “applicant”) may confirm this Mailing Date using the
`USPTO’s Trademark Status and Document Retrieval (TSDR) system at http://tsdr.uspto.gov/.(cid:160) To do so, enter the U.S. application serial
`number for this application and then select “Documents.” (cid:160) The Mailing Date used to calculate the response deadline for this provisional full
`refusal is the “Create/Mail Date” of the “IB-1rst Refusal Note.”
`
`(cid:160)T
`
`his is a PROVISIONAL FULL REFUSAL of the request for extension of protection of the mark in the above-referenced U.S. application.(cid:160)
`See 15 U.S.C. §1141h(c).(cid:160) See below in this notification (hereafter “Office action”) for details regarding the provisional full refusal.
`
`(cid:160)T
`
`he referenced application has been reviewed by the assigned trademark examining attorney.(cid:160) Applicant must respond timely and completely to
`the issue(s) below.(cid:160) 15 U.S.C. §1062(b); 37 C.F.R. §§2.62(a), 2.65(a); TMEP §§711, 718.03.
`
`SUMMARY OF ISSUES that applicant must address:
`
`False Connection Refusal
`Identification of Goods
`Entity Information
`Color Description
`
`SEARCH OF OFFICE’S DATABASE OF MARKS
`
`The trademark examining attorney has searched the Office’s database of registered and pending marks and has found no conflicting marks that
`would bar registration under Trademark Act Section 2(d).(cid:160) TMEP §704.02; see 15 U.S.C. §1052(d).
`
`FALSE CONNECTION REFUSAL
`
`(cid:160)R
`
`egistration is refused because the applied-for mark consists of or includes matter which may falsely suggest a connection with Edvard
`
`(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`

`

`Munch’s Estate, represented by the Munch Museum. (cid:160) Although Edvard Munch’s estate is not connected with the goods provided by applicant
`under the applied-for mark, Edvard Munch’s estate is so famous that consumers would presume a connection. (cid:160) Trademark Act Section 2(a), 15
`U.S.C. §1052(a); see TMEP §1203.03, (c).(cid:160) See generally Univ. of Notre Dame du Lac v. J.C. Gourmet Food Imps. Co., 703 F.2d 1372, 217
`USPQ 505 (Fed. Cir. 1983); In re Cotter & Co., 228 USPQ 202 (TTAB 1985); Buffett v. Chi-Chi’s, Inc. , 226 USPQ 428 (TTAB 1985).
`
`(cid:160)T
`
`he following is required for a showing of false connection under Trademark Act Section 2(a):
`
`(1) The mark sought to be registered is the same as, or a close approximation of, the name or identity previously used by another person
`or institution.
`
`(2) The mark would be recognized as such, in that it points uniquely and unmistakably to that person or institution.
`
`(3) The person or institution identified in the mark is not connected with the goods sold or services performed by applicant under the
`mark.
`
`(4) The fame or reputation of the named person or institution is of such a nature that a connection with such person or institution would
`be presumed when applicant’s mark is used on its goods and/or services.
`
`(cid:160)I
`
`n re Jackson Int’l Trading Co. , 103 USPQ2d 1417, 1419 (TTAB 2012); In re MC MC S.r.l., 88 USPQ2d 1378, 1379 (TTAB 2008); TMEP
`§1203.03(c)(i); see also Univ. of Notre Dame du Lac v. J.C. Gourmet Food Imps. Co., 703 F.2d 1372, 1375-77, 217 USPQ 505, 508-10 (Fed. Cir.
`1983) (providing foundational principles for the current four-part test used to determine the existence of a false connection).
`
`ISSUE REGARDING APPLICANT’S ENTITY TYPE
`
`(cid:160)A
`
`pplicant must specify its form of business or type of legal entity and its national citizenship or foreign country of organization or incorporation.(cid:160)
`See 37 C.F.R. §§2.32(a)(3)(i)-(ii), 7.25(a)-(b); TMEP §§803.03, 803.04, 1904.02(a).(cid:160) This information is required in all U.S. trademark
`applications, including those filed under Trademark Act Section 66(a) (also known as “requests for extension of protection of international
`
`registrations to the United States”). (cid:160) See 37 C.F.R. §§2.32(a)(3)(i)-(ii), 7.25(a)-(b); TMEP §§803.03, 803.04, 1904.02(a).(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`Acceptable entity types include an individual, a partnership, a corporation, a joint venture, or the foreign equivalent.(cid:160) See 37 C.F.R.
`§2.32(a)(3)(i)-(ii); TMEP §§803.03 et seq.
`
`(cid:160)I
`
`f applicant’s entity type is an individual, applicant must indicate his or her national citizenship for the record. (cid:160) See 37 C.F.R. §2.32(a)(3)(i);
`TMEP §803.04.(cid:160) If applicant’s entity type is a corporation, association, partnership, joint venture, or the foreign equivalent, applicant must set
`forth the foreign country under whose laws applicant is organized or incorporated.(cid:160) 37 C.F.R. §2.32(a)(3)(ii); TMEP §§803.03(b)-(c), 803.04.(cid:160)
`For an association, applicant must also specify whether the association is incorporated or unincorporated, unless the foreign country and the
`designation or description “association/associazione” appear in Appendix D of the Trademark Manual of Examining Procedure (TMEP).(cid:160) TMEP
`§803.03(c).
`
`(cid:160)I
`
`f applicant is organized under the laws of a foreign province or geographical region, applicant should specify both the foreign province or
`geographical region and the foreign country in which the province or region is located.(cid:160) See TMEP §803.04.(cid:160) To provide this information online
`via the Trademark Electronic Application System (TEAS) response form, applicant must (1) locate the “Entity Type” heading and select
`“Other;” (2) locate the “Specify Entity Type” heading and select “Other” under the Foreign Entity option, and enter in the free-text field below
`both applicant’s entity type and the foreign province or geographical region of its organization (e.g., partnership of Victoria); and (3) locate the
`“State or Country Where Legally Organized” heading and select the appropriate foreign country (e.g., Australia) under the Non-U.S. Entity
`option.(cid:160) See id.
`
`IDENTIFICATION OF GOODS
`
`(cid:160)T
`
`he goods are:(cid:160)(cid:160)
`Class 32: Beers, mineral waters and other non-alcoholic beverages(cid:160)(cid:160)
`Class 33: Alcoholic beverages (except beers)(cid:160)(cid:160)(cid:160)
`
`The identification of goods and/or services is indefinite and must be clarified.(cid:160) In particular, the applicant must specify the specific Class 32
`beverages intended and delete the parentheses in Class 33 and incorporate the language therein into the body of the Class 33 identification.(cid:160) See
`TMEP §1402.01.(cid:160) Applicant may adopt the following identification, if accurate:(cid:160)
`
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`

`

`Class 32: Beers, mineral waters; non-alcoholic beverages, NAMELY, {specify common commercial names of specific Class 32 beverages
`
`intended, e.g., fruit juices, energy drinks, isotonic drinks}(cid:160)(cid:160)
`Class 33: Alcoholic beverages except beers(cid:160)(cid:160)(cid:160)
`
`For assistance with identifying and classifying goods and/or services in trademark applications, please see the USPTO’s online searchable U.S.
`Acceptable Identification of Goods and Services Manual at http://tess2.uspto.gov/netahtml/tidm.html. (cid:160) See TMEP §1402.04.
`
`(cid:160)I
`
`n an application filed under Trademark Act Section 66(a), an applicant may not change the classification of goods and/or services from that
`assigned by the International Bureau in the corresponding international registration.(cid:160) 37 C.F.R. §2.85(d); TMEP §§1401.03(d), 1904.02(b).(cid:160)
`Further, in a multiple-class Section 66(a) application, an applicant may not transfer goods and/or services from one existing international class to
`
`An applicant may amend an identification of goods only to clarify or limit the goods; adding to or broadening the scope of the goods is not
`
`another.(cid:160) 37 C.F.R. §2.85(d); see TMEP §§1402.07(a), 1904.02(c).(cid:160)(cid:160)
`permitted.(cid:160) 37 C.F.R. §2.71(a); see TMEP §§1402.06 et seq., 1402.07 et seq.(cid:160)(cid:160)(cid:160)
`
`DESCRIPTION OF MARK REQUIRED
`
`(cid:160)A
`
`pplicant has submitted a color drawing and provided a color claim, but has not provided the required description specifying where color appears
`in the literal and design elements in the mark.(cid:160) See 37 C.F.R. §§2.37, 2.52(b)(1); TMEP §807.07(a)-(a)(ii).
`
`(cid:160)G
`
`eneric color names must be used to describe the colors in the mark, e.g., magenta, yellow, turquoise.(cid:160) TMEP §807.07(a)(i)-(ii).(cid:160) If black, white,
`and/or gray are not being claimed as a color feature of the mark, applicant must exclude them from the color claim and include in the mark
`description a statement that the colors black, white, and/or gray represent background, outlining, shading, and/or transparent areas and are not
`part of the mark.(cid:160) See TMEP §807.07(d).
`
`(cid:160)T
`
`herefore, applicant must provide a mark description that specifies where all the colors appear in the literal and design elements in the mark.(cid:160) See
`TMEP §807.07(a)(ii).(cid:160) The following is suggested, if accurate:
`
`The mark consists of a design of a red and yellow sky over a blue, dark blue, grey and black body of water appearing to the right
`of a green and red area.(cid:160) On the left side of the design appears a red, yellow and orange bridge with three black human figures.
`The figure in the front of the design is black and has a yellow face.
`
`If applicant has questions regarding this Office action, please telephone or e-mail the assigned trademark examining attorney.(cid:160) All relevant e-
`mail communications will be placed in the official application record; however, an e-mail communication will not be accepted as a response to
`this Office action and will not extend the deadline for filing a proper response.(cid:160) See 37 C.F.R. §2.191; TMEP §§304.01-.02, 709.04-.05.(cid:160) Further,
`although the trademark examining attorney may provide additional explanation pertaining to the refusal(s) and/or requirement(s) in this Office
`action, the trademark examining attorney may not provide legal advice or statements about applicant’s rights. (cid:160) See TMEP §§705.02, 709.06.
`
`WHO IS PERMITTED TO RESPOND TO THIS PROVISIONAL FULL REFUSAL:(cid:160) Any response to this provisional refusal must be
`personally signed by an individual applicant, all joint applicants, or someone with legal authority to bind a juristic applicant (e.g., a corporate
`officer or general partner).(cid:160) 37 C.F.R. §§2.62(b), 2.193(e)(2)(ii); TMEP §712.01.(cid:160) If applicant hires a qualified U.S. attorney to respond on his or
`her behalf, then the attorney must sign the response.(cid:160) 37 C.F.R. §§2.193(e)(2)(i), 11.18(a); TMEP §§611.03(b), 712.01.(cid:160) Qualified U.S. attorneys
`include those in good standing with a bar of the highest court of any U.S. state, the District of Columbia, Puerto Rico, and other federal
`territories and possessions of the United States.(cid:160) See 37 C.F.R. §§2.17(a), 2.62(b), 11.1, 11.14(a); TMEP §§602, 712.01.(cid:160) Additionally, for all
`responses, the proper signatory must personally sign the document or personally enter his or her electronic signature on the electronic filing.(cid:160) See
`37 C.F.R. §2.193(a); TMEP §§611.01(b), 611.02.(cid:160) The name of the signatory must also be printed or typed immediately below or adjacent to the
`signature, or identified elsewhere in the filing.(cid:160) 37 C.F.R. §2.193(d); TMEP §611.01(b).
`
`(cid:160)I
`
`n general, foreign attorneys are not permitted to represent applicants before the USPTO (e.g., file written communications, authorize an
`amendment to an application, or submit legal arguments in response to a requirement or refusal).(cid:160) See 37 C.F.R. §11.14(c), (e); TMEP §§602.03-
`
`.03(b), 608.01.(cid:160)(cid:160)
`DESIGNATION OF DOMESTIC REPRESENTATIVE:(cid:160) The USPTO encourages applicants who do not reside in the United States to
`designate a domestic representative upon whom any notice or process may be served.(cid:160) TMEP §610; see 15 U.S.C. §§1051(e), 1141h(d); 37
`
`(cid:160)(cid:160)
`(cid:160)
`(cid:160)(cid:160)
`(cid:160)(cid:160)
`

`

`C.F.R. §2.24(a)(1)-(2).(cid:160) Such designations may be filed online at http://www.uspto.gov/trademarks/teas/correspondence.jsp.(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`/katyhalmen/
`Katy Halmen
`Trademark Examining Attorney
`Law Office 109
`Email: katy.halmen@uspto.gov
`Tel: 571.272.8911
`
`(cid:160)(cid:160)
`TO RESPOND TO THIS LETTER: (cid:160) Go to http://www.uspto.gov/trademarks/teas/response_forms.jsp. (cid:160) Please wait 48-72 hours from the
`issue/mailing date before using the Trademark Electronic Application System (TEAS), to allow for necessary system updates of the application.(cid:160)
`For technical assistance with online forms, e-mail TEAS@uspto.gov.(cid:160) For questions about the Office action itself, please contact the assigned
`trademark examining attorney.(cid:160) E-mail communications will not be accepted as responses to Office actions; therefore, do not respond to
`this Office action by e-mail.
`
`(cid:160)A
`
`ll informal e-mail communications relevant to this application will be placed in the official application record.
`
`(cid:160)W
`
`HO MUST SIGN THE RESPONSE:(cid:160) It must be personally signed by an individual applicant or someone with legal authority to bind an
`applicant (i.e., a corporate officer, a general partner, all joint applicants).(cid:160) If an applicant is represented by an attorney, the attorney must sign the
`
`response.(cid:160)(cid:160)
`PERIODICALLY CHECK THE STATUS OF THE APPLICATION: (cid:160) To ensure that applicant does not miss crucial deadlines or official
`notices, check the status of the application every three to four months using the Trademark Status and Document Retrieval (TSDR) system at
`http://tsdr.uspto.gov/. (cid:160) Please keep a copy of the TSDR status screen. (cid:160) If the status shows no change for more than six months, contact the
`Trademark Assistance Center by e-mail at TrademarkAssistanceCenter@uspto.gov or call 1-800-786-9199. (cid:160) For more information on checking
`status, see http://www.uspto.gov/trademarks/process/status/.
`
`(cid:160)T
`
`O UPDATE CORRESPONDENCE/E-MAIL ADDRESS:(cid:160) Use the TEAS form at http://www.uspto.gov/trademarks/teas/correspondence.jsp.
`
`(cid:160)(cid:160)
`

`

`httpzffeducation.vahoo.comfreferencefdlctionarwentrwlvlunch
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`10052013 04:00 43 PM
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`Yahoo! Education :- Reference 2» Dictionarg :- Munch, Edvard
`
`REFERENCE
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` ,,,.evv;;;° Get your online store today.
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`Definition of Munch, Edvard
`Reference
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`5‘?“T‘''“
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`
`Munch I11 (mfingk) E , Edvard 1863-1944.
`
`Norwegian artist whose works include etchings,
`lithographs, and paintings, such as The Scream
`(1893) andFri'eze ofL1fe (1897).
`
`Visit W
`parlnefs site
`Provicled by Houghton lvlifflin
`. eReference — Download this interactive
`
`e’
`‘
`:
`
`reference software to our desldo
`J.’-R£.i:(’T-t.‘JF('l‘¢Dn1Liter
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`httpzffvwwv.munchmuseet.nor'Do|»<ument!For—Eno|i5h—vi5itor5
`
`11105112013 04:05 05 PM
`
`MUN " H
` W
`
`Besok oss
`flgliih
`
`Pressefpress
`
`Om Munch—museet
`
`Hva skjer
`
`Edvard Munch
`
`Barn og unge
`
`Booking og
`Kate
`
`
`
`Next exhibition - Mun Am'n3t;'de,r
`
`paper
`
` Our collection of 23 000 artworks consist of1 150 paintings, 1? B00 prints, 7
`
`700 drawings (including his 200 sketch-books), 21 sculptures and a number
`of photographs taken by Munch himself.
`
`The next exhibition at the Munch Museum is the once-in-a-lifetime
`anniversary exhibition Munch 150. This exhibition will run on two
`venues, the National Gallery and the Munch Museum respectively.
`-
`-
`-
`I-—-—
`will be the most comprehensive Munch exhibition ever, with more
`than 250 works and will provide a unique overview of all the periods and central themes of the artists
`output.
`
`It
`
`The museum's programme also comprises film screenings, audioguides, concerts, guided tours and lectures. The
`museum has a shop with catalogues and souvenirs and a cafe that serves salads, pastries. sandwiches etc. The
`museum's library houses literature on Edvard Munch and other artists.
`
`For more infonnation:
`
` e
`
`I
`
`fee
`
`Getting here
`
`Practical information
`
`The Munch Museum is a monographic art museum, dedicated to
`the life and work of the Nonivegian artist Edvard Munch. In our
`museum at Toyen, we have the world's largest collection of Munch's
`art, with almost 28 lllll} works of art in addition to personal efiects,
`tools and even Edvard Munchs private library.
`
`.
`
`_.
`
`.
`
`'-
`
`"
`
`Q9
`b;','feftn'se_r
`
`

`

`httpzffvwwv.munchmuseet.n0r'Do|»<umentiFor—Enc:|i5h—vi5itor5
`
`11105112013 04:05 05 PM
`
`Munch 150 - the anniversary exhibition
`Opening hours
`Admission fee
`Getting here
`Practical information
`P ress
`
`MUNCH
`musent
`
`I :.r.~::;1H TL?
`
`Wt».
`
`!f,‘.,‘.":.iE‘u'“n'..'3_-§:.‘i
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`l'iFi':.
`
`

`

`http:i'i'en.wil<ipedia orciiyyil<ii'The Scream
`
`11fO5i2013 04:22 03 PM
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`Article Talk “wt
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`The Scream
`From Wiirip-edia, the free encyclopedia
`
`For other uses, see The Scream (disambiguation).
`
`The Scream (Norwegian: Skriir) is the popular name given to each of tour versions of a
`composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch
`.
`.
`between 1893 and 1919. Der Schrer der ltiarrrr (The Scream oflvature) is the title Munch gave
`to these works, all of which show a figure with an agonized expression against a landscape with
`a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a
`Mona Lisa for our time."[1]
`
`Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one
`of two painted versions (1893, shown at right). The Munch Museum holds the other painted
`version ( 191 0, see gallery) and a pastel version from 1893. These three versions have not
`traveled for yearslzl
`The fourth version (pastel, 1395) was sold for $1 19,922,600 at Sotheby's Impressionist and
`Modern Art auction on 2 May 2012 to financier Leon Ellack,[3l[4l the highest nominal price paid
`for a paiming at auction.[5l The painting was on display in the Museum of Modern Art in New
`York from October 2012 to April 2013.
`
`Also in 1895, Munch created a lithograph stone ot the image. Of the lithograph prints produced
`
`-
`-
`-
`-
`I
`7
`by Munch, several examples survive.E5] Only approximately four dozen prints were made before
`the originai stone was resurfaced by the printer in Munch s absence.[ 1
`The Scream has been the target of several highprotile art thefts. in 1994, the version in the
`National Gallery was stolen. it was recovered several months later. In 2004, both The Scream
`and Madonna were stoten from the Munch Museum, and recovered two years later.
`
`'
`
`The Scream
`
`Norwegian: Sl(ri'K. German: Der Schrei der
`New
`
`
`
`Edvard Munch
`.Artisi
`.
`1593
`yea,
`0-,,’ tempera and paste, on
`Type
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`
`Contents [hide]
`1 Sources of inspiration
`2 Thefts
`' 3 Record sale at auction
`4 In poputar cutture
`5 Gallery
`6 References
`1'' External links
`
`

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`111052013 04:22 03 PM
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`Sources of inspiration
`
`[edit]
`
`The original German title given to the work by Munch is Der Schrei derNatur{"The Scream of Nature“). The
`Norwegian word slcrik usually is trarslated as scream, but is cognate with the English shriek. Occasionally, the
`painting also has been called The Cry.
`
`In his diary in an eritiy headed, Nice 22 January 1892, Munch described his inspiration for the irriage:
`
`One evening I was walking along a path, the city was on one side and the tiord below. I felt tired and ill. I
`stopped and looked out oiier the tjord—the sun was setting, and the clouds turning blood red. I sensed a
`scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the
`
`clouds as actual blood. The color shrieked_ This became The Screamlgl
`
`This memory was later rendered by Munch as a poem, which he hand-pairited onto the frame of the 1895 pastel
`version of the work:
`
`Edvard Munch, 1921
`
`E1
`
`I was walking along the road with twofriends — the sun was setting — suddenly the sky turned blood red — I paused, feeling
`exhausted, and leaned on the fence — there was blood and ‘l0I‘lg|J$ of fire above the b|ue—b|ack tjord and the city — my friends
`walked on, and I stood there trerrbling with anxiety — and I sensed an infinite scream passing through naturelgl
`
`Among theories advanced to accoum tor the reddish sky in the background is the artists memory ot the effects ot the powenul volcanic eruption
`of Krakatoa, which deeply tinted sunset skies red in parts ofthe Western hemisphere for months during 1883 and 1884, about a decade before
`Munch painted The Scream.“ 9] This explanation has been disputed by scholars, who note that Munch was an expr&ive painter and was not
`primarily interested in literal renderings of what he had seen. Alternatively, it has been suggested that the proximity of both a slaughterhouse and
`a lunatic asylum to the she depicted in the painting may have oifered some inspirationl‘ 1] The scene was idemified as beingthe view from a
`road overlooking Oslo, the Osloljord and Hovedoya, from the hill of Ekeb-erg. At the time of pairitingthe work, Munch's manic depressive sister
`Laura Catherine was a patient ai the asyliln at the foot of Eket:erg.l°i‘e“°" eeeeeel
`In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground ofthe painting was inspired by a
`Peruvian mummy, which Munch could have fin atthe 1889 Exposition Universelle in Paris. This mimrny, which was buried in afetal position
`with its hands alongside its face, also struck the imagination of Munch's friend Paul Gauguin: it stood as a model for the central figure in his
`painting, Human misery (Grape harvest at Aries) and for the old woman at the left in his painting, Where Do We Come From? What Are We?
`Where Are We Going? More recently, an Italian anthropologist speculated that Munch might have seen a [IlLlIl'I1}" in Florence's Museiln of
`Natural History, which bears an even more striking resemblance to the painting_[‘2l
`The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of
`distortion ofthe envirortnent and one's seIf,l13l and also facial pain_[11l
`
`.?Edit links
`
`Thefts
`
`[edit]
`
`The Scream has been the target of a nirriber of thefts and theft attempts, Some damage has been suffered in these thelis,
`
`On 12 February 1994, the woe day asthe opening of the 1994 Winter Olympics in Lillehammer, two men
`
`

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`broke into the National Gallery and stole rlsversion of The Stxeam, leaving a note reading ‘Thanks for the
`poor security“.[15l [15lThe painting had been moved down to a second-story gallery,“ 7] as part ofthe
`oiympic festivities. The presence of international media coveringthe games made the thelt a sensation.“ 31
`After the gallery refused to pay a ransom demand of US$51 million in March 1994, Norwegian police set Lp
`a sting operation with assistance from the British police [S01 0) and the Getty Museum and the painting
`was recovered undamaged on T May 1994117] In January 1996, four men were comricted in connection
`with the theft, inciuding Pat Enger, who had been convicted ofstealing Munch's vampire in 19331191 They
`were released on appeal on legal grounds: the British agents imrolved inthe sting operation had entered
`Norway under false identititfilzol
`
`
`
`5'
`Two men breaking into the
`National Gallery, Oslo, to steal the
`gallery's (1503 tempera an
`cardboard) version of The
`Srzream, February 1994
`
`
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`The 1910ternpera on board version of The Scream was stolen on 22 August 2004, during daylight hours,
`when masked gurmen entered the Munch Museum in Oslo and stole it and Munch's Madonnalzll A
`bystander photographed the robbers as they escapedto their car with the artwork (shown at right). On 8
`April 2005, Norwegian police arrtsted a suspect in connection with the theft, but the paintings remained
`missing and it was rtmored that they had been burned by the thieves to destroy evidence.[22ll23] On 1 June
`2005, with four suspects already in custody in connection with the crime, the city govermient of Oslo
`offered a reward of 2 million Nonivegian krone {roughly US$313,500 or €231 ,200) for information that could
`,
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`[24]
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`help locate the paintings.
`Although the paintings remained missing, six men went on trial in early 2006,
`variously charged with either hehingto plan or participating in the robbery. Three ofthe men were
`convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted,
`Bjorn Hoen and Petter Tharaldsen, were also ordered to pay compensation of T50 million kroner (roughly
`US$11T.6 million or €86} million) to the City of 0sio.l951 The Munch Museum was closed for ten months for a security oyerhaui.l95i
`On 31 August 2006, Norwegian police announced that a police operation had recovered both The Rrrream and Marianne, but did not reveal
`detailed circtmstances of the recovery. The pairttings were said to be in a better—thane)ipected condition. “We are 100 percent certainthey are
`the originals,‘ police chief Iver Stersrud told a news conference. "The damage was much less than feared.'[27]l23] Munch Museum director
`ingebierg Ydstie contirrnedthe condition ofthe paintings, saying it was much better than expected and that the damage could be repaired.l291
`The Scream had moisture damage on the lower lelt corner, while Madonna sultered several tears on the right side ofthe painting as well astwo
`holtfi in Madonna's arIn.[3°] Before repairs and restoration began, the paintings were put on ptblic display by the Munch Museum beginning 2T
`Septerrber 2006. During the frve—day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23
`May 2008, when the exhibition "Scream and Madonna — Revisited" atthe Munch Museum in Oslo displayed the paintings together.l3‘l Some
`damage to ‘The Scream‘ may prove irripossible to repair, but the otierall integrity ofthe work has not been corrrprornised.l331l331
`
`'
`‘
`'
`'
`Ttiieves taking paintings from 5'
`me Munch Museum in 05,0 0" 22
`August 2004
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`Record sale at auction
`
`[edit]
`
`The 1895 pastel-on-board version of the painting, owned by Norwegian businessman Petter Olsen, sold at Sotheby's for a record US$1 20
`million at auction on 2 May 2012.13“ The bidding started at $40 million and lasted for over 12 minutes when Leon Black by phone gave the final
`offer of US$1 19,922,500, including the buyer's premium.l"'l Sotheby's said the painting was the most colorful and vibrant ofthe four versions
`painted by Munch and the only version whose frame was hand-painted by the artist to include his poem, detailing the work's inspirationlzl After
`the sale, Sotheby's auctioneer Tobias Meyer said the painting was "worth every penny“, adding: '1t is one of the great icons of art in the world
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`and whoever bought it should be congratulated.'[35]
`The previous record for the most expensive work ot art sold at auction had been held by Pica$o's Nude, Green Leaves and Bust, which went
`tor US$106.5 million at Christie'stwo years prior on 4 May 20101351 When accounting for inflation, the highest price paid for art at an auction is
`still held by Van Gogh's Portrait of Dr. Gachet, which sold for $82.5 million in 1990, or about $147 million 2012 do|lars.[37] There have been
`reports that The card Players, by Cezanne, sold privately for $250m in 2o11,l331l39I which can not beverilied for the tslablislment ota record
`price.
`
`In popular culture
`
`[edit]
`
`In the late twentieth century, The Scream was imitated, parodied, and outright copies have been made following its copyright expiration, which
`led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's book The Primal Scream.[‘m] In
`1983~1984-, pop artist Andy Warhol made a series of silk prints copying works by Munch, including The Scream. His stated intention was to
`dtsacralize the painting by making it into a mass—reproducible object. Munch had already begun that process, however, by making a lithograph
`of the work for reproduction. Erro's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967)
`and Ding Dong (1979) is considered a characteristic of post—modern art.["'1] Cartoonist Gary Larson included a "tribute" to The Stxeam
`(entitled The lvlfhine) in his Wiener