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ancient origins and are a parody of the biblical image of the sinful Eve (or apocryphal image of the first woman Lilith). In the mythological consciousness of contemporaneity, a woman appears as a sex symbol with hypertrophic sexual corporeality, as an almost sexless frigid doll, or as a spiteful fury, carrying death (Chadwick 67-83).

For example, Edvard Munch's favorite images were the symbols of a flower girl with flaxen plaits dressed in white, a red-haired woman-vampire (“Vampire”), and sorrowful mother. They embody life and death, love and jealousy. A tender girl appears in “Ashes” (1894), dressed in white against the twilight of the forest landscape; her hair are untressed, and hands are pushed back on head. It also appears in his “Dance of Life” (1899-1900) and “Woman in Three Stages”(1899).

In Munch's “Madonna” (1885), the image of a concrete woman has become a symbol of eternal femininity, the source of life. Flowing, soft lines and restrained colors with splashes of red flow around a half-naked female figure with hands are pushed back on head. Tossing hair and closed eyes create a feeling of inner tension and painful reflection. Woman in Munch's work appears in various incarnations: as an idealized image of the gir, as the personification of erotic femininity, or as clairvoyant, overbearing mother-death.

It is also important to mention the Alphonse Mucha's phenomenon, associated with the concept emerged in Paris - ??La Femme Muchas??, as Mucha was the praiser of feminine beauty.

The figure of a beautiful and graceful woman, freely but inseparably depicted in a system of ornamental flowers and leaves, symbols and arabesques became his hallmark. The center of the composition is usually a young healthy woman of Slavic appearance in loose clothes, with a luxurious crown of hair, drowning in a sea of flowers - sometimes languish and fascinating, sometimes mysterious, sometimes gracious, sometimes inaccessible and fatal, but always charming and pretty. The Style of Art Nouveau in Mucha's image is a style of women and flowers. Languish ladies, queens, princesses, most frequently beautiful goddesses of fertility, women in Mucha's paintings are rather Eve than the dark temptress passionate Lilith. For example, a series “12 months” contain the images of female figures, sometimes nude, as well as elegant ladies' heads. Women in his lithographs are attractive and, as one would say now, sexy (Pollock 56-58).

The subject of femme fatale is also one of the most explicit in all the works of Gustave Moreau. It was most vividly reflected in the works devoted to Salome - a Biblical beauty, who demanded from King Herod, as a reward for her excellent dancing, the head of John the Baptist. Moreau himself described Salome as a bored capricious woman with a soul of a beast, who did not get any pleasure at the sight of John's severed head, because his execution had been just one of her many whims. Spoiled by their immediate implementation, this woman was no longer capable of manifestation of simple human emotions such as pity and compassion, not to mention love (Chadwick 84-85).

Already in his early painting “Oedipus and the Sphinx” one can easily see male and female symbols of the Universe, the unknown unconscious, mystery of the creation, which the man is trying to solve. Moreau repeatedly returned to the theme of Salome, each time looking for a new solution, changing the本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。