The turn of the 20th century presents a period of time in which writers and artists are fascinated with the portrayal of women as the femme fatale. The nature of the femme fatale challenges the four common stereotypes that men often assign to women: the virgin, wife, mother and whore.[1] She does not follow the course of these given roles, but takes matter into her own hands by utilizing her beauty to control men. The erotic and sensual depictions of the femme fatale sets her up to be a powerful seductress, threatening the lives of men, thus contradicting the image of the virtuous and chaste woman. Finding the balance between femininity and masculinity, she beckons women to take control of their lives. The femme fatale also reflects the studies of Sigmund Freud during that time, in which she embodies the repressed sexual urges that control actions and moods, governing man in his own weak and darker side.
This exhibition allows the viewer to peer into the frightening, yet exhilarating portrayals of the femme fatale that artists adopted during the 18th and 19th century. This is accomplished through the exploration of various mythological and religious female figures such as Lilith, Eve, Circe, and Salome. The paintings also give insight on the iconographic portrayal of Judith by Gustav Klimt, which was done after these other paintings. He depicts Judith in such a manner that is often mistaken for the story of Salome, who was more commonly known as the face of femme fatale; however, he clearly demonstrates that is not his intention through the inscription of the title on his work of art. The empowered and sensual embodiment of the female was a recurring theme in the work of many artists, including Klimt and his collections. His unique style of painting stands out among the rest, although all prove to be scandalous and controversial paintings of that time, greatly influencing the upcoming roles of women in art, literature, theatre, and in society.
Dante Gabriel Rossetti, Lady Lilith, 1867, Watercolor and gouache on paper, Metropolitan Museum of Art: 08.162.1
The portrayal of femme fatale is seen early on with Jewish-Christian culture revealing Lilith as Adam’s first wife. According to legend, instead of coming from Adam’s rib, she too came from the dust, thus making her equal to him in sexuality and desires. She refused to submit to his authority, and runs away. Rossetti channels the character of Lilith by representing the beautiful and desired woman of the 19th century, “that threatens the family unity”.[2] Through the seductive exposure of her shoulder as she combs her luscious locks, with a slight tilt to her head, there is a purposeful sense of sensuality the viewer feels.
Henri Regnault, Salomé, 1870, Oil on canvas, Metropolitan Museum of Art:1916(16.95)
Salome uses her beauty to her advantage when asked what she wanted by her step-father, King Herod. She requested the head of John the Baptist, thus honoring her mother’s wish. While many paintings done on this narrative show traces of blood, the head of John the Baptist, or Salome dancing before Herod, Regnault takes a different approach by only showing the tools for execution resting on the lap of Salome. The viewer is able to discern through the visual cues in the painting the danger inherent in this women. In addition, the exotic beauty of Salome, tied in with her gold clothing draped amorously on her relaxed and confident body, perfectly embody the femme fatale.[3]
John William Waterhouse, Circe Invidiosa, 1892, Oil on canvas, Art Gallery in Adelaide, South Australia
This is the second depiction of the Greek mythological character, Circe, done by John William Waterhouse. Overcome with envy, Circe poisons her rival for Glaucus’ affection, the beautiful nymph Scylla, and turns her into a horrific sea monster.[4]The eeriness of this painting is created through the verticality of the composition, cold tones of blues and greens, and the determined facial expression of Circe as she pours the green poison onto her nemesis . The artist also includes the common elements of the depictions of femme fatale, such as the loosely draped clothing exposing skin, and flowing hair.
Franz von Stuck, Sin, 1893, Oil on canvas, Neue Pinakothek - Bayerische Staatsgemäldesammlungen in Munich, Germany
Eve, eating the fruit from the tree of knowledge of good and evil, brings about the awareness and arousal of sexual desires between her and Adam. She is a symbol of sexual attraction and power with her link between death and fertility. This painting in particular portrays Eve as an exotic seductress lingering in the shadows, breasts exposed, with a snake coiled around her neck. Her gaze seems to tempt the viewer, who is mesmerized with her beauty even knowing the dangers that follow. This is yet another female biblical figure capturing the essence of the female fatale.[5]
Franz von Stuck, Kiss of the Sphinx, 1895, Oil on canvas, Szépmüvészeti Múzeum in Budapest, Hungary
The mythological sphinx, portrayed as a female being, is aggressively grabbing a male figure and passionately kissing him in von Stuck’s rendering of “Kiss of the Sphinx”. This plays with the notion of powerlessness a man feels when approached by an intimidating and highly sexual woman. The muscular definition of the women along with the positioning of her body on top of his, in full control, adds to the dramatic force of this painting. This time, the femme fatale is presented in action, exerting force and power over a man as he is lost in pleasure before his moment of death.
Pierre Bonnaud, Salomé, 1900, Oil on canvas, Musée Hébert in Paris, France
This painting is another depiction of Salome as femme fatale, yet this is accomplished in different ways. Her fully nude body, wearing only jewelry and a sheer skirt of some sorts is positioned in such a way that demands full control, as does the stiffness of her body and hand over John the Baptist's head.This painting serves as a good contrast to the center painting of this exhibit, Gustav Klimt's Judith, and indicates how the stories may get mixed up with each other.
Gustav Klimt, Judith, 1901, Oil on canvas and gold leaf, Belvedere Palace, Vienna, Austria
The deuterocanonical book of Judith gives the account of Judith beheading Holofernes, an Assyrian general who was going to destroy Judith’s home, the city of Bethulia. She uses her beauty to captivate the general's attention and successfully decapitates him. Gustav takes a woman who is usually depicted in a heroic manner, and turns her into a renown femme fatale.[6]He is clearly influenced by the changing views of women during that time especially through art, but he executes it in such a manner that stands out from others.
[1]Ruth Markus, “Femme Fatale at the Turn of the 20th Century”, Femme Fatale, Tel Aviv: Museum Tel-Aviv, 2006, 179
[2] Ruth Markus, “Femme Fatale at the Turn of the 20th Century”,188
[3] Tania Albin, "Salome in the Fin De Siècle Imagination." Salome in the Fin De Siècle Imagination. 2006.
[4]Tania Albin, "Salome in the Fin De Siècle Imagination."
[5] Ruth Markus, “Femme Fatale at the Turn of the 20th Century”, 188
[6] Nadine Sine. “Cases of Mistaken Identity: Salome and Judith at the Turn of the Century”. German Studies Review Vol. 11, No. 1 (Feb., 1988),The Johns Hopkins University Press on behalf of the German Studies Association, 12
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