The revolutionary artist, Gustav Klimt, showcases colossal capacity near the end of his career through the painting, Polecat Fur in 1916.
The painting belongs to the sophisticated female fatale collection of Klimt, as his fascination with the female form and their presence on the canvas motivated him to produce an array of artwork admiring woman. The rugged composition depicts an intriguing woman as she dances within her fur coat, seducing her eyes at the viewer.
As evident through the name of the piece, the woman is clothed in a polecat fur jacket, an incredible luxury at the time that showcases the wealth of the muse as a high class Vientiane woman. The painting is not finished, as the artists classic signature is finished on the piece, alongside being created recently before his death.
The artwork portrays a young woman a young woman, covering her body in a polecat fur coat as the momentum of the fabric sways along her body. The coat is painted in an impressionist technique, with swift soft brush strokes covering the piece in one direction. The artist had painted the coat in different shades of brown, displaying the exact material and texture of the coat. The large coat covers the body of the woman, only displaying her face and legs.
The viewer is drawn the principle aspect of the piece, the engaging face of the mysterious woman. Through the arch of the woman's eyes, her welcoming glare flirts with the viewer as she swiftly sways her coat. The muse's small eyes seduce her opponent, with a sexual allure showcased through her face. The woman's pale face is given a glimpse of depth as Klimt paints rosy cheeks; adding a flirty embarrassed emotion. The artist works to seize the canvas through the emotion the woman depicts, showcasing her wealth through the fur coat in a fun tone. The welcoming presence of the woman's emotions invites the viewer to ponder her motivation.
The background of the painting is covered in an eye-catching print; showcasing either an Asian styled scene; most likely a traditional Japanese society as seen through Klimt's other work. The scene is depicted through an impressionist style that continues the technique used throughout the painting. Bright colours fill the canvas, adding life to the brown-based portrait of the woman. The contrast between the two is an engaging contradiction, as the European woman differs from the Asian culture in the background. The viewer is left to ponder the relationship between the two. As they come to the realization that there isn't one, they are left to analyze Klimt's fascination with the print, and thought process to include the pattern.
The unfinished painting cultivates itself through the intriguing forms of art depicted within the oil on canvas painting. The seductive edge of the woman seized the viewer's attention, yet transitions them as they ponder the Japanese styled background that brings life to Klimt's work.