Search results
Results From The WOW.Com Content Network
This style placed a special emphasis on the world of dreams and mysticism, as well as on various aspects of counterculture and marginality, such as esotericism, Satanism, terror, death, sin, sex and perversion—symptomatic in this sense is the fascination of these artists with the figure of the femme fatale.
Femmes fatales were standard fare in hardboiled crime stories in 1930s pulp fiction.. A femme fatale (/ ˌ f ɛ m f ə ˈ t æ l,-ˈ t ɑː l / FEM fə-TA(H)L, French: [fam fatal]; lit. ' fatal woman '), sometimes called a maneater, [1] Mata Hari, or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising ...
Salome became widely known as a femme fatale through the centuries, and has inspired numerous artists. [5] The subject had become fashionable in the late 19th century; [6] this work of art, along with Moreau's L'Apparition series, sparked a Salome craze lasting into the 20th century, permeating all forms of art. [7]
Film noir was a film movement that dominated the mid to early-20th century space in Hollywood history and popularised the use of the femme fatale trope. It established an intersection of "freedom, fascination and erotic intrigue" [ 10 ] with the identity of a woman, an ideal that was conducive to its popularity in the context of a burgeoning ...
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 a focal piece of the canvas, as well as the facial set.
Its surreal setting and mystic air, evoked by obscure architectural and textile opulence, contrast with previous interpretations of the subject, making The Apparition a key work for the emerging symbolist movement. [6] Belgian art dealer Léon Gauchez bought The Apparition in 1876 upon its first presentation at the Salon where it was exhibited ...
In decades past, women would typically fall under a "femme fatale" archetype, she explains, often with "fast car chase scenes" representing a "life on the run or from danger" — like Faye Dunaway ...
[4] Feminist critic Carol Duncan is inclined to interpret the figure as a femme fatale, Munch's Madonna (1893–94), a femme fatale par excellence, visually hints at the imagery of victimization. The familiar gestures of surrender (the arm behind the head) and captivity (the arm behind the back, as if bound) are clearly if softly stated.