In a transitional period from his ‘erotic-symbolist Golden phase’ to his highly decorative and vibrant Japanese inspired phase, Klimt painted these gorgeous and aloof femme fatales: a subject so popular in fin de siecle. These two ladies are not mythical creatures, they look like real Viennese women and they’re impatient, they’re waiting, wrapped in their fur, adorned with the finest Art Nouveau jewellery, they’re glancing at you with disdain, they’re throwing darts in the eyes of their lovers.
End of the first decade of the twentieth century brought some changes for Klimt; his gorgeous studies in gold with intricate details and stylised forms were slowly becoming passé. Rise of the Expressionism denoted the end of his ‘golden phase’. In his paintings such as ‘The Kiss’, Klimt painted his figures in shining yellow fabrics, decorated with tiny golden leaves, against luminous golden backgrounds, floating in a highly decorative world of his imagination. This excessive decorative element in his art prevented him from delving into psychological depth and achieving the emotional intensity of the portrayed figure, and that’s something that painters like Schiele and Kokoschka did very well . In 1909, Klimt travelled to Paris where he discovered the works of Henri de Toulouse-Lautrec and the Fauvists. These encounters with the new streams in the artistic world, as well as his friendship with the younger artist Schiele, all inspired him to reinvent his style.
La Belle Epoque fashion looks as if it was made for femme fatales – it’s exuberant, it’s glamorous; wide-brimmed hats with feathers, fur muffs, voluminous hairstyles, large choker necklaces, long flowing dresses with lace details… Klimt was very much in tune with the fashion of the day because his life companion Emilie Flöge happened to be a fashion designer. Klimt also helped in designing the dresses by making the patterns. In this transitional period, Klimt dressed his femme fatales not in gold but in lace and perfumes and jewels and rouge; he tamed them, he made them into fashionable little dolls who are impatiently waiting to be played with, to be admired. These creatures are vain and aloof but not as sinister and destructive as Franz Stuck’s dark female figures filled with lust and anxiety. Klimt also tamed his lust for excessive ornamentation by painting the background in one colour instead of the usual vibrant kaleidoscope of shapes and patterns.
Painting Lady with Hat and Feather Boa has a strangely dark colour palette, unusual for Klimt’s typical vibrant pinks, yellows and greens. The lady has an amazing face expression; her downward tilted eyes are fixated on something on her right which we can’t see, and her eyebrows are sharp and angry. Her face has been haunting me for weeks! And that peacock blue line on her hat, and the feathers, painted in swirling, near abstract motions. Her wild red hair, and gorgeous lips peeking from that feather boa, oh she’s a real femme fatale. You can imagine her getting out of the carriage, somewhere on the streets of Vienna, opening her parasol, blind to every eye she meets, with a gaze that says: ‘You’re not fit to polish my boots!’
On the other hand, Black Feather Hat (Lady with Feather Hat) is somewhat different in mood and style. Our redhead beauty above looks gorgeous and vivacious like Klimt’s women usually do, but this one looks a tad different – there’s a subtle nihilism in those white-grey shades, a hint of Egon Schiele and the fin de siecle nervousness. Look at her angular face and the way her hand is painted; it looks like something you’d see on Schiele’s paintings. Truth is, Schiele was initially inspired by Klimt, but Klimt also learner something from his young independent-minded pupil. Again we see this gorgeous La Belle Epoque fashion, and again this femme fatale is looking into the distance, we don’t know what occupied her attention, or whose face lingers on her mind.