The revolution was led by the women of the 1920s who grew exasperated of being viewed as drab monotonous housewives. They became increasingly sexually defined, more straight and dominant, and spawned the image of the femme fatale. It originates from the French fatal woman meaning atomic number 53 who utilises the malign power of her sexuality to snatch men. Painted in 1530, Lucas Cranachs Salome epitomizes the human body of a femme fatale. Salome was at a time called upon to dance for King Herod who was very practically entranced by her charm and grace. So much so that the king promised her anything she desired, upon which she communicate the head of John the Baptist. King Herod was so infatuated with her that he immediately complied. As Cranach illustrated, Salome possessed an extraordinary truelove and corporal the perfect woman, innocent and pure. She is seated, her hands clutching a funds book which bears the severed head of John the Baptist. Her surroundings get t o a striking contrast with her demeanour - she is proudly displaying the Baptists head, her nervus facialis expressions attractive and beguiling. The background, painted in bleak desolate colours, allows a clear-sighted hint to the underlying darkness of Salome. Contrary to different femme fatale texts, Cranachs characterization differs in that it displays both Salomes charm and allure precisely likewise her fatalistic qualities, through the texture, colours and main concentrate features of the portrait. The moving picture does not target a specific audience, nevertheless appeals to a more general one, though an educated understanding of the femme fatale and the legend of Salome is needed in order to fully comprehend and lever it. Dante Rossettis The Orchard Pit describes another femme fatale. It details an ethereal get hold into between a travelling man who is tempted by a beautiful woman. She draws men in with her siren... If you want to get a full essay, order it on ou! r website: OrderCustomPaper.com
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