Who painted Three Seated Young Women?

Three Seated Young Women was painted by Edvard Munch in 1906.

Where can I see Three Seated Young Women?

Three Seated Young Women is held by Munch Museum.

What movement is Three Seated Young Women?

Three Seated Young Women is associated with Post-Impressionism.

Artwork

Three Seated Young Women

Edvard Munch , 1906

Three Seated Young Women is a tempera painting by the Post-Impressionist artist Edvard Munch. It dates from 1906 and is held in the collection of the Munch Museum.

About this work

Overview

Created in 1906, *Three Seated Young Women* is a tempera painting by Norwegian artist Edvard Munch. The work presents three youthful figures seated side by side, their backs turned toward the viewer, set against a muted beige backdrop. The composition is restrained, emphasizing a calm, introspective mood rather than overt drama.

Subject & Meaning

The three women are rendered in flowing garments of pale hues—white, yellow, and pink—while their faces remain hidden, focusing attention on posture and gesture. Their turned backs and the soft, contemplative atmosphere suggest a private moment of quiet reflection, inviting viewers to consider inner states rather than external narratives.

Technique & Style

Munch employed tempera, a medium that mixes pigment with a water‑soluble binder, yielding a delicate, matte surface. This choice contributes to the painting’s subtle tonal transitions and gentle luminosity. Stylistically, the work aligns with post‑impressionist concerns for emotional resonance, using simplified forms and muted color to convey feeling.

History & Provenance

The painting is part of the collection of the Munch Museum in Oslo, where it has been displayed since the museum’s establishment. It remains one of the works that illustrate Munch’s early 20th‑century output, bridging his more famous expressionist pieces with his earlier symbolist experiments.

Context

Munch’s artistic development was shaped by his studies at the Royal School of Art and Design in Kristiania and his association with contemporary radical thinkers such as Hans Jæger. By 1906, he was exploring themes of psychological depth and existential anxiety, a preoccupation that informs the subdued yet evocative tone of this painting.