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The chronology of womanhood becomes the main symbolic content in Woman in Three Stages. It is characteristic for Munch to seek plausibility even in his most fanciful themes, but such insistence upon credibility does not reduce the power of Munch's symbols. The virgin is white, in a billowing dress with flowing hair, standing on the sand strip between water and forest and straining toward a distant horizon. The central position is occupied by Woman in full and sensuous maturity. Here she is rendered naked, provocatively frontal, red-haired and red-lipped, with her arms raised and her head tilted in brazen coquetry and whorish contrast with her other-selves. Close to her, like a shadow, is a dark image of spent womanhood whose embodiment stands with raised shoulders, slim waist, and pointed mouth. This last of the three women is nearest to Man, both in position and in the sombre black clothing.
The motif Woman, or Sphinx, can be found in several versions, as a painting, etching, and lithograph. Another title used for the motif is Woman in Three Stages.
Munch and several of his contemporary artist colleagues had a difficult relationship with women. They could see women as complicated and mystical, and full of contradictions.
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