Hodler (1853 - 1918), whose work Klimt much admired. Find all the books, read about the author, and more. Dressed in a beautiful gown the widow Judith succeeds in seducing the enemy warlord Holofernes. favorite was the fleshy, Rubenesque beauty portrayed in Danae. [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. El Beso (Los Enamorados) de Gustav Klimt. 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. [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. It was the twelfth year of the rule of Nebuchadnezzar, who ruled the Assyrians in the great city of Nineveh. A far more acceptable solution was to insist that this was a picture of the Judith 1:1 . Un Ensayo de Iconografía, Lulu.com, junio de 2008, ISBN 978-1-4092-0530-2. Judith and the Head of Holofernes (also known as Judith I) is an oil painting by Gustav Klimt created in 1901. 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. There seem to have been two principal Klimt types. murderess Salome, despite its being titled on the frame, and for a long time the painting was erroneously known as 'Salome'. Judith herself has in a sense been decapitated. Notwithstanding the alteration of features, one can recognise Klimt's friend (and, possibly, lover), Viennese socialite, Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena. Klimt: Judith I (One Hundred Paintings Series) Hardcover – August 1, 2000 by Gustav Klimt (Author) › Visit Amazon's Gustav Klimt Page. Mysterious forces seem to be slumbering within this enticing female". It depicts the biblical character of Judith holding the severed head of Holofernes. DRA. Gustav Klimt depicts the classic showcase of Judith, a biblical heroine who had seduced and decapitated General Holofernes. Her half-closed gaze, which also ties into an expression of pleasure, directly confronts the viewer of all this. Un Ensayo de Iconografía, Fin-de-Siècle Vienna: Politics and Culture, Gallery of works by Gustav Klimt at Zeno.org, Klimt University of Vienna Ceiling Paintings, https://en.wikipedia.org/w/index.php?title=Judith_and_the_Head_of_Holofernes&oldid=991026600, 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. Judith's sensuality and her orgasmic expression as she holds up the head of Holofernes shocked Vienna. The Viennese could not bring themselves In dieser Ausarbeitung wird Judith I (s. Abb. Now Arphaxad king of the Medes had brought many nations under his dominions, and … His Judith seems to be in ecstasy: eyes half closed, open mouth, her dress in disarray. In those days, Arphaxad ruled the Medes in Ecbatana. 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: CEB. the subject was quite popular among Old Masters, a typical example is Judith Beheading Holofernes by Caravaggio. 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. Es zeigt die biblische Person Judith, die den abgeschlagenen Kopf des Holofernes hält. Contact Us | Terms of Use | Links 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. 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. • Chillida, Julio Vives. Judith appears as God's instrument of salvation, but the violence of her action cannot be denied and is dramatically shown in Caravaggio's rendering,[2] as well as those of Gentileschi and Bigot. Welche Geschlechteridentitäten wirft Klimts Gemälde auf, die zeitgenössisch diskutiert wurden? However, this work is not timeless allegory, since Judith and the Head of Holoferness depicted as a Viennese society beauty. 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, 1901 by Gustav Klimt Courtesy of www.Gustav-Klimt.com 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. Judith und Holofernes oder Judith I ist ein Ölgemälde von Gustav Klimt, welches er 1901 malte. 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. The heavy gold choker she wears, fashionable in early twentieth-century Vienna, rather brutally separates her own head from her body. Auf Welche Art und Weise steht Klimts Frauenportrait für etwas anderes, das es selbst nicht ist? El Beso (Los Enamorados) de Gustav Klimt. 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. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. When Klimt tackled the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation. 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. 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. The model was Adele Bloch-Bauer and if we compare it It depicts the biblical character of Judith holding the severed head of Holofernes. gold band at the bottom of the picture looks as if it might be an ornamental hem to her garment, but then cuts across her abdomen like a flat belt. Diese Überlegungen zum Bild der Frau werden im Kontext der ursprünglichen biblischen Judith-Erzählung aus dem Alten Testament angestellt und reflektieren dieses … Learn about Author Central. The other Copyright © 2011 - Present www.Gustav-Klimt.com All Rights Reserved. Its traits are transfigured so as to obtain the greatest degree of intensity and seduction, which Klimt achieves by placing the woman on an unattainable plane. with her portrait it is easy tosee the facial similarity. 1) von Gustav Klimt als Ausdruck seiner Zeit, insbesondere auf das Frauenbild im Wiener fin de siècle hin untersucht. As an example of virtue overcoming vice, 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. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. In his tent she decapitates him. Judith's face exudes a mixed charge of voluptuousness and perversion. In fact, many paintings exist describing the episode in a heroic manner, especially expressing Judith's courage and virtuous nature. The stylized The first was this dark-haired woman of angular build, also seen in Judith and the Head of Holofernes. Her clothes half conceal, half reveal her body. Are you an author? [10] Her disheveled dark green, semi-sheer garment, giving the viewer a view of nearly bare torso, alludes to the fact that Judith beguiled the general Holofernes before decapitating him. The painting was bought almost immediately by Klimt's Swiss contemporary, the painter Ferdinand Klimt emphasized the erotic tension of the moment. [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. Franz A. J. Szabo describes it best as a "[symbol of] triumph of the erotic feminine principle over the aggressive masculine one". The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. [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. See search results for this author. [8] 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. 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. [5] The moment preceding the killing – the seduction of Nebuchadnezzar's general – seems to coalesce with the conclusive part of the story.[6].

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