Are you an author? It depicts the biblical character of Judith holding the severed head of Holofernes. In its formal qualities, the first version illustrates a heroine with the archetypal features of the bewitching and charming ladies described by symbolist artists and writers such as Wilde, Vasnetsov, Moreau, and others. Judith und Holofernes oder Judith I ist ein Ölgemälde von Gustav Klimt, welches er 1901 malte. Judith I shares elements of its composition and symbolism with The Sin by Franz Stuck:[7] the temptation illustrated by the German painter becomes the model for Klimt's femme fatale by suggesting the posture of the disrobed and evanescent body as focal piece of the canvas, as well as the facial set. Find all the books, read about the author, and more. However, this work is not timeless allegory, since Judith and the Head of Holoferness depicted as a Viennese society beauty. It was the twelfth year of the rule of Nebuchadnezzar, who ruled the Assyrians in the great city of Nineveh. Contact Us | Terms of Use | Links Judith 1:1 . The other The Viennese could not bring themselves Judith herself has in a sense been decapitated. Klimt emphasized the erotic tension of the moment. El Beso (Los Enamorados) de Gustav Klimt. In those days, Arphaxad ruled the Medes in Ecbatana. • Chillida, Julio Vives. The model was Adele Bloch-Bauer and if we compare it DRA. with her portrait it is easy tosee the facial similarity. [9] The slightly lifted head has a sense of pride, whereas her visage is languid and sensual, with parted lips in between defiance and seduction. Franz A. J. Szabo describes it best as a "[symbol of] triumph of the erotic feminine principle over the aggressive masculine one". When Klimt tackled the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation. Judith and the Head of Holofernes, 1901 by Gustav Klimt Courtesy of Judith was the biblical heroine who seduced and then decapitated General Holofernes in order to save her home city of Bethulia from destruction by the enemy, the Assyrian army. See search results for this author. Her clothes half conceal, half reveal her body. In fact, many paintings exist describing the episode in a heroic manner, especially expressing Judith's courage and virtuous nature. The heavy gold choker she wears, fashionable in early twentieth-century Vienna, rather brutally separates her own head from her body. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base. El Beso (Los Enamorados) de Gustav Klimt. Copyright © 2011 - Present All Rights Reserved. Learn about Author Central. Welche Geschlechteridentitäten wirft Klimts Gemälde auf, die zeitgenössisch diskutiert wurden? Es zeigt die biblische Person Judith, die den abgeschlagenen Kopf des Holofernes hält. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. In his tent she decapitates him. the subject was quite popular among Old Masters, a typical example is Judith Beheading Holofernes by Caravaggio. Dressed in a beautiful gown the widow Judith succeeds in seducing the enemy warlord Holofernes. Klimt: Judith I (One Hundred Paintings Series) Hardcover – August 1, 2000 by Gustav Klimt (Author) › Visit Amazon's Gustav Klimt Page. As an example of virtue overcoming vice, to see this brazen femme fatale, who is clearly taking pleasure in her actions, as the pious Jewish widow how risked her virtue in order to save her city. Judith was the biblical heroine who seduced and then decapitated General Holofernes in order to save her home city of Bethulia from destruction by the Assyrian army. Mysterious forces seem to be slumbering within this enticing female". Judith's sensuality and her orgasmic expression as she holds up the head of Holofernes shocked Vienna. Her half-closed gaze, which also ties into an expression of pleasure, directly confronts the viewer of all this. 1) von Gustav Klimt als Ausdruck seiner Zeit, insbesondere auf das Frauenbild im Wiener fin de siècle hin untersucht. [3] Other representations have depicted the subsequent moment, when a dazed Judith holds Holofernes' severed head, as Moreau and Allori anticipate in their suggestive mythological paintings. It depicts the biblical character of Judith holding the severed head of Holofernes. To stress and re-emphasize that the woman was actually Judith and not Salome he had his brother, Georg, make the metal frame for him with "Judith and Holofernes" engraved on it. [8] Auf Welche Art und Weise steht Klimts Frauenportrait für etwas anderes, das es selbst nicht ist? The first was this dark-haired woman of angular build, also seen in Judith and the Head of Holofernes. In dieser Ausarbeitung wird Judith I (s. Abb. And there is no trace of bloodied sword, as if the heroine would have used a different weapon: an omission that legitimates association with Salome. The painting was showcased in 1901, and met with an array of tension, as viewers believe that the woman was the biblical reference to Salome. Judith and the Head of Holofernes (also known as Judith I) is an oil painting by Gustav Klimt created in 1901. Diese Überlegungen zum Bild der Frau werden im Kontext der ursprünglichen biblischen Judith-Erzählung aus dem Alten Testament angestellt und reflektieren dieses … A far more acceptable solution was to insist that this was a picture of the There seem to have been two principal Klimt types. favorite was the fleshy, Rubenesque beauty portrayed in Danae. In the 1901 version, Judith maintains a magnetic fascination and sensuality, subsequently abandoned by Klimt in his Judith II, where she acquires sharper traits and a fierce expression. Gustav Klimt depicts the classic showcase of Judith, a biblical heroine who had seduced and decapitated General Holofernes. Judith's face exudes a mixed charge of voluptuousness and perversion. Island in the Attersee - by Gustav Klimt: Judith and the Head of Holofernes - by Gustav Klimt: Judith II - by Gustav Klimt: Lady with hat and feather boa - by Gustav Klimt: Life is a Struggle - by Gustav Klimt: Litzlbergkeller on Lake Atter - by Gustav Klimt: Love - by Gustav Klimt: Hodler (1853 - 1918), whose work Klimt much admired. Judith and the Head of Holofernes (also known as Judith I, German: Judith und Holofernes) [1] is an oil painting by Gustav Klimt created in 1901. CEB. In 1903, author and critic Felix Salten describes Judith's expression as one "with a sultry fire in her dark glances, cruelty in the lines of her mouth, and nostrils trembling with passion. Although Judith had typically been interpreted as the pious widow simply fulfilling a higher duty, in Judith I she is a paradigm of the femme fatale Klimt repeatedly portrayed in his work. Now Arphaxad king of the Medes had brought many nations under his dominions, and … [4], Klimt deliberately ignores any narrative reference whatsoever, and concentrates his pictorial rendering solely on to Judith, so much so that he cuts off Holofernes' head at the right margin. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. [5] The moment preceding the killing – the seduction of Nebuchadnezzar's general – seems to coalesce with the conclusive part of the story.[6]. murderess Salome, despite its being titled on the frame, and for a long time the painting was erroneously known as 'Salome'. [11] She revels in her power and sexuality—so much so that critics mislabeled Klimt's Judith as Salome, the title character from Oscar Wilde’s 1891 tragedy. Un Ensayo de Iconografía, Fin-de-Siècle Vienna: Politics and Culture, Gallery of works by Gustav Klimt at, Klimt University of Vienna Ceiling Paintings,, Paintings of the Österreichische Galerie Belvedere, Short description is different from Wikidata, Articles with German-language sources (de), Creative Commons Attribution-ShareAlike License, Schorske, Carl E. "Gustav Klimt: Painting and the Crisis of the Liberal Ego" in, This page was last edited on 27 November 2020, at 21:46.


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