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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>https://sammlungtest.belvedere.at/internal/media/dispatcher/51186/full</value></field><field label="Title" name="title"><value>The Judgment of Paris</value></field><field label="Date" name="displayDate"><value>1885-1887</value></field><field label="Dimensions" name="dimensions"><value>Gesamtmaße: 370 × 752 × 65 cm</value></field><field label="Medium" name="medium"><value>Oil on canvas, framing in wood and plaster</value></field><field label="Credit Line" name="creditline"><value>1901 Widmung Alexander Hummel, Triest</value></field><field label="Inventory number" name="invno"><value>433i</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>
The goddesses Venus, Athena, and Hera approach the shepherd Paris without a hint of bashfulness. They present their bodies and gaze steadily at Paris and Hermes, the messenger of the gods. Hermes takes it all in his stride, pausing for a moment in a self-absorbed athletic pose. Paris, on the other hand, seems to recoil from such an obvious display of femininity—just like the male audience around 1900. Most men were left feeling “absolutely alien and uncomprehending” when faced with this painting, as the work’s first owner Alexander Hummel wrote, whereas it was genuinely admired by women. Klinger showed the goddesses exuding self-confidence rather than in lascivious poses. And confronted with so much self-assurance, the male world simply had to capitulate.

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