
Sculpture of oxen & wagon 
Tallest building in Montevideo 
Montevideo statue
Montevideo is on the Plate River, the estuary formed by the confluence of the Parana & Uruguay rivers. On the map I see this area as an ocean bay, but, since it’s fresh/brackish water, it’s considered river, and it’s quite brown because the rivers that form it have a lot of silt. The cruise dock is close enough to walk easily into the ‘old town.’ but we took a bus tour anyway. Good guide and I liked Uruguay instantly. It’s a mostly rural and agricultural small democracy. Originally a Spanish colony (it received independence in 1825), the population includes a large portion of Italian immigrants but very few Indians or blacks. An early president conducted a genocide against the Indian tribes (not their finest hour, they acknowledge) and, although the port received African slaves, they were all in transit to other parts of South America.
A useful fact in both Uruguay and Argentina is that shops aimed at tourists take American dollars and even give change in dollars—something I’ve not encountered before.

Munch Revisited. Since my original post about 2 weeks ago, I’ve walked several times past the lithograph of the couple Munch titled Anna and Walter Leistikow (depicted above), the name of the couple portrayed who were his friends; Walter was also a fellow painter who organized an exhibition of Munch’s work in Berlin. I continue to be fascinated by the portraits, in part due to the couples’ facial expressions, their orientation with respect to one another… and for a very faint sketch of a small child in night dress barely visible in the background over the man’s left shoulder.
I believe the title of Norwegian Gothic I assigned to the picture is entirely wrong; at best, it could only apply to Walter and what seems to be his very serious or dour expression. The figure of the child begs several questions: Who is she? What is her relationship to the couple? Is she real; or imagined? Why is her image so faint in contrast to that of the couple? Shipboard exhibition notes suggest the child is Gerte, the couples’ young daughter who possibly has awakened from sleep; this explanation seems stretched to me.
Another answer can be gained from looking closely at Anna, Walter’s wife and central figure to whom our eyes are drawn by her husband’s orientation and gaze. She dominates the picture and her direct expression differs markedly from Walter’s. I think Anna is (elusively) smiling… possibly because the child’s image represents an idea Anna has of an actual or imaginary child. The faintness of the child’s image suggests she may be more imaginary than real; of a child not yet born or even conceived. What do you think?–Chris
































