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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 ...
According to the art critic Hans Hofstätter, "the femme fatale, and especially Salome was the social symbol of the turn of the century and thus the double of the artist, who also knows that he prostitutes himself and reveals his most sacred feelings and secrets cheaply". By posing himself as a model for the figure of the servant, Stuck himself ...
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]
Germaine Dulac's 1920 La Belle Dame sans Merci explores the archetype of the femme fatale. [24] [25] Natassia Malthe stars as "The Lady" in Hidetoshi Oneda 2005 fantasy short of the same title. Ben Whishaw recites the poem in the 2009 Keats biopic Bright Star.
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. These gestures have a long history in Western art....
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. When Klimt addressed the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation.
Part of a series of at least 8 closely resembling paintings and more than 40 sketch drawings, it is regarded as a key work of Moreau's opus, symbolism and fin de siècle art in general. [3] Upon its first presentation 1876 in Salon (French: Salon de Paris), the painting caused a sensation.
In some works, the woman is represented as the femme fatale. In works such as The Eternal Feminine and Modern Olympia, the woman can be seen as a temptress, drawing men away from their artistic and intellectual careers. [citation needed] Changes in Cézanne's personal life led to increased anxiety towards women.