Hostile Forces The Giant Typhoeus The classic artist had taken part in painting the Beethoven Frieze for the 14th Vienna Secessionist exhibition to celebrate the composer. The frieze was painted directly on the walls with light materials; once the exhibition was completed, the paintings were preserved and after went on display in 1986. The work is meant to be a symbolism for the symphony of Beethoven's music, a visual representation of the feelings that evoke the artist upon hearing the work. The philosophical painting explores an array of different elements within the piece, through symbols and patterns showcasing the style of the piece. The artwork illustrates three similar women standing amongst one another within the piece as a trio. These women are displayed as white bodies, standing in an array of different body position portraying a story. The woman near the right of the photo holds her long deep black hair in her hands, while her face is felt in a terrified expression. The woman's right leg is clenched over her other one, hiding her body from the perpetrator. The woman to her left carries a similar facial expression, yet seems less scared as the other woman. The muse holds her dark hair covering her faces, while gold swirls fill the canvas. The gold swirling patterns evident in each woman's hair illustrates a mosaic pattern that accentuates their face. The middle woman's body is incredibly skinny, with her hips curving on the inside, alongside the woman on the other side. The last woman on left carries an altered facial expression than the other two, it seems as if her expression is possessed, as she is happy in the dark situation they have encountered. From the woman on the right towards the left, the symbolism seems to represent the woman's development toward madness. The curves throughout the women's bodies are painted in an immense amount of detail to showcase. Above the triplets, the body of a dead woman hovers above, implementing horror into their lives. This woman's face is confused with death, while her arms remain skinny above the girls. In the background, a few other symbolism are illustrates through aspects of death. Skulled faces display the mural, in different shades, as the artist hits at death. A large brown creature seizes the right side of the canvas, bringing the viewer to wonder is whether the women fear this animal. Gustav Klimt used tiny vertical linear brush strokes to manifest the fur of the animal, alongside white cubs to showcase the creature's teeth. Beneath the woman, a beautiful array of gold patterns fills canvas in metallic shades. Klimt incorporated his gold phase style into the work, using a mosaic pattern within his array of textures. The bottom of the painting holds different shades of green; a rope is tied to the ankle of the woman attached to a large rock with a horrid face.