Munch was born in a relatively poor farm household. Munch’s father, Christian, a medical officer who was a son of a priest; and his mother, Laura Catherine, was half Christian’s age. In Munch’s early years, his family sufferd from his father’s pietism, tuberculosis and mental illness. Munch’s father was described as “obsessively religious—to the point of psychoneurosis” by Munch, while his mother suffered from tuberculosis and died in 1868. Munch constantly experieenced his father’s morbid pietism and diseases of family members. He had one elder sister, who is his favourite sibling, Sophie, died in 1877 and three younger siblings. His little sister, Laura, was diagnosed with mental illness at an early age. Munch felt that death was constantly advancing on him, and he “inherited both of mankind’s most frightful enemies—the heritage of consumption and insanity.” The death casted a shadow on young Munch, his whole life was shrouded by its gloom. During his lifetime, Munch experienced disappointment in love, feeble healths and suffered endless solitude in his life. Stree, anxiety, sorrow became his usual motifs for painting. Of the five siblings, only Andreas married, but he died a few months after the wedding. The oeuvres in “The Frieze of Life” reflect Munch’s pessimisitc philosophy of life and focuses on portraying different stages of life and as what Munch called, it is about “the battle between men and women, that is called love”. Munch explored ultimate menaing behind hte human relationships. The tempetuous love between the sexes, attraction, courtship, ecstaic confirmation, and inevitably, the disappointment. The Kiss was one of the most reworked motifs Munch investigated in the collective, created during his most focusing period on it. Munch have experienced to convey this topic, which is the kiss, through several media and different compostition since 1888/1889. There are four variations of the woodcut on this theme. The Kiss I and II were produced in 1897 and were among Munch’s earliest woodcuts. The Kiss III was created in 1898 and The Kiss IV in 1902.In this 1897 oil painting version, he captured two intimate lovers pulling together with a gentle embrace, mouths lockd in a passionate kiss. Their faces fusing together to symbolize the ideal of unity, also the loss of individuality and idnetity in love. This painting embodies the most ambivalence feeling of rituals of intimacy by the contrast of the light from the window and the darkness in the room, which reflects Munch’s depressed, pessimistic philosophy of love.