Water Serpents II Gustav Klimt (1862-1918)
Gustav Klimt – Water Serpents II
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Painter: Gustav Klimt
Location: Private Collection
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Gustav Klimt from 1904 to 1907 was engaged in painting two paintings with virtually the same subject matter, Water Snakes I and Water Snakes II. The sight of these paintings, or rather these feminine figures, draws the viewer into a world of sweet fantasy, enchanting all men and young men with their appearance, causing a rapid heartbeat and rapid pulse. Such a subject had already been encountered in Gustav’s work in The Current and The Silverfish, and here, a few years later, he wrote two such works. But what are these wondrous maidens, resembling overly slimmed down fairy tale mermaids in one painting and lively, young girls in the second? The title makes it clear that appearances can be deceiving, and these beauties remind one rather of Nymphs: they are just as cold and slippery, and all their charm is bestowed upon them by the icy ocean.
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Description of Gustav Klimt’s painting Water Snakes
Gustav Klimt from 1904 to 1907 was engaged in painting two paintings with virtually the same subject matter, Water Snakes I and Water Snakes II.
The sight of these paintings, or rather these feminine figures, draws the viewer into a world of sweet fantasy, enchanting all men and young men with their appearance, causing a rapid heartbeat and rapid pulse. Such a subject had already been encountered in Gustav’s work in The Current and The Silverfish, and here, a few years later, he wrote two such works.
But what are these wondrous maidens, resembling overly slimmed down fairy tale mermaids in one painting and lively, young girls in the second? The title makes it clear that appearances can be deceiving, and these beauties remind one rather of Nymphs: they are just as cold and slippery, and all their charm is bestowed upon them by the icy ocean. They are happy in their kingdom, and in them does not live the desire for love or the search for a mate. But still the transparent pinkish skin, the bright red hair, the end of which merges with seaweed and water, and the natural forms of these maidens never cease to beguile.
Gustave loved to depict in his paintings the underwater kingdom with its inhabitants: fish, barnacles, mollusks and light seaweed. Amidst all the abyss and coral we see the image of a woman, to which all the symbols inevitably lead. In this inconceivable dream algae transforms into hair, everything merges: figures, shells, stars - into a single whole, into a composition where dark and light tones, bright and dim neighbors, turning everything in the picture into a shimmering magnificent symphony.
You can immediately notice that Klimt preferred to paint the female images of the men, the latter usually played the role of a living background, or were simply relegated to the background. But the women in his paintings are in all their glory, corresponding to the fantasies and desires of their creator.
COMMENTS: 5 Ответы
wonderful
Incredible works, Im amazed. Ive discovered a new and wonderful artist.
I really like it. The otherworldly realm inhabited by these creatures looks at you with a hint of mockery and yet complete indifference. It evokes a feeling of something beyond comprehension, something unearthly and incomprehensible to the human mind.
Water Serpents. Artwork by Gustav Klimt.
Boris Khanin.
His attention to the feminine principle:
A breast with a pink nipple and a strand of reddish hair
On the forehead. The view of oval buttocks.
He also depicted the firmness in their thighs.
With a cold, beautiful face, with Slavic features
And a mane of reddish hair
On their heads, he presented water serpents.
For the first time, we saw creatures like these.
Four serpents are gathered in a garland.
They are women swimming in the water.
And they seem to sway as if real.
Their flat bodies still attract us.
But I think that when we touch them,
These very cool, smooth, delicate, long bodies,
Im sure we wont merge with the garland.
Only serpents can do that; it is their fate.
The element of water seems to have united them:
Their flat bodies resemble each other.
Cold blood flows through their veins.
You dont expect a smile, affection, or warmth from them.
Their bodies are pale and covered in spots,
With tufts of hair in shells and colored stones.
The painting breathes with vibrant colors,
Its unique nature attracts us.
A captivating symbol, a fascinating existence.
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The figures themselves are rendered with a pale, almost ethereal quality, contrasting sharply with the vibrant tapestry of flora that envelops them. The artist depicted these women not as discrete individuals but as integral components of this natural setting; their bodies seem to merge seamlessly with the vegetation. A profusion of flowers – poppies, cornflowers, and other blooms – are scattered across the scene, clinging to the figures’ skin and forming a visual echo of their curves. This abundance suggests fertility, growth, and an almost overwhelming vitality.
The faces of the women are characterized by a melancholic expression; their gazes appear distant and introspective. The woman on the right possesses long, flowing hair that cascades down, further blurring the boundary between her form and the surrounding foliage. This detail contributes to a sense of vulnerability and immersion within the natural world.
The color palette is dominated by warm tones – reds, oranges, yellows – punctuated by cooler blues and greens. This interplay creates a dynamic visual rhythm that reinforces the feeling of movement and fluidity. The dark background serves to isolate the figures and flora, intensifying their luminosity and emphasizing their symbolic weight.
Subtly, the work explores themes of interconnectedness between humanity and nature. It is not merely a depiction of women in a garden; rather, it suggests a deeper symbiosis – a merging of human form with the organic world. The melancholic expressions on the figures’ faces might imply a sense of longing or perhaps an awareness of the ephemeral nature of beauty and life itself. The overall impression is one of serene contemplation tinged with a quiet sadness, evoking a feeling of timelessness and profound connection to the natural cycle.