So Klimt was interested in especially secession topics. Especially the symbolical motives of life, specialize in the woman body. Like his predecessor, his follower, Egon Schiele. So the woman were in another light as before, it was very popular, the femme fatale at the end of the nineteenth century, and Judith, who killed Holofernes, was a kind of woman. So, this painting from 1901 is a very characteristic for Klimt's style at that time, because what we can recognize on the frame of the painting is the use of gold, gold leaf, and it was really liked by Klimt, because in this way he could make the background, how to say, immortal in a way. What is really important about the background of Judith, not only this golden frame, but also the golden floral and other ornamental decorations behind her, because it was used from an Assyrian, Assyrian motifs, and that's why in his early, how to say, life of this painting it was called not Judith, but Salome. Although the Assyrian motif hints to Holofernes, but of course a woman with a decapitated head can't be as well Salome, and Salome was also popular at that time as a femme fatale. And it is also written about this painting, the really instinct of Judith, the woman power and so on, as he is holding, she's holding the head of Holofernes, and it's a kind of an erotical, erotic moment as she looks on the viewer a bit, how to say, aggressive or provocative mood.
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