An Analysis of Gustav Klimt’s “Hope I” and the Femme Fatale in the Modern Art Movement

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Essay #: 065957
Total text length is 9,321 characters (approximately 6.4 pages).

Excerpts from the Paper

The beginning:
An Analysis of Gustav Klimt’s “Hope I” (1903) and the Femme Fatale in the Modern Art Movement
This formal art analysis will define the important aspects of the personification of the femme fatale and modernism in Gustav Klimt’s painting “Hope I” (1903). The important aspects of the fem fatale imply that women have been demonized as being evil or by being in the midst of evil, revealing the symbolic “hope” of reproduction and pregnancy by showing a naked pregnant woman. By being a direct attack on strict Victorian views that prevented women’s bodies to be shown, Klimt redefined a modernist view of women at the beginning of the 20th century. Also, his use of abstract shapes and objects in clothing and human form also dictate how “Hope I” is...
The end:
.....a growingly logical, functional, and rationalized world. The use of abstract shapes define the modern qualities of the piece, which played a large part in the development of Vienna Succession as a stylistic preference in a mechanized age veering away from the dominance of organic forms in Art Nouveau. These aspects of Klimt’s “Hope I” define the importance of the femme fatale, the use of modernism in his style, as well as how this related to his work as a painter in the Vienna Succession movement at the turn of the century.
Works Cited
Fliedl
, Gottfried. Klimt. New York: Taschen, 2006.
Natter, Tobias. Klimt’s Women. New Haven: Yale University Press, 2000.
Schorske
, Carl. Fin-De-Siecle Vienna: Politics and Culture. New York: Vintage, 1980.