1901-2
Courtesy Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt.
Klimt's treatment of the dress, on the other hand, is uncharacteristically reminiscent of Whistler's light brush. The proudly distant expression that he gives to this society woman is typical of Klimt; it is encountered again and again, from this time on, in his femmes fatales. One of the great themes of the fin de siecle was the domination of woman over man. The battle of the sexes preoccupied the salons; artists and intellectuals participated in the discussions. Klimt's 1898 Pallas Athene is the first archetypal "superwoman" in his gallery: with her armour and weapons she is sure of victory and she subjugates man, or perhaps the whole of mankind. Some elements appear in this picture which would be decisive in Klimt's subsequent work: for instance, the use of gold and the transformation of anatomy into ornamentation, of ornamentation into anatomy. Klimt remains active on the surface, unlike the younger generation of Expressionists who seek immediate penetration of the psyche. Klimt's visual language takes its symbols, both male and female, from Freud's dream world. The voluptuous ornaments reflect the eroticism which represents one side of Klimt's visions of the world as he knew it.
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