Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches and other art objects. Klimt"s primary subject was the female body; his works are marked by a frank eroticism. At first sight, Klimt"s Hygieia seems to be put another representation of the femme fatale. Hygieia confronts the viewer almost scornfully, her haughtiness is implied by her upraised chin and inscrutable gaze and her posture is slightly ominous, the golden snake twines sinuously along her upraised arm and it is unclear whether she offering the bowl or withholding it. The stylization of her encompassing red and gold robe serves to hide her body and her hair is covered beneath her rich headdress, the only indication of humanity and feminine sensuality lie in Hygieia"s bare face and arms and even here, her sensuality becomes a source of power, though she stares out of the painting, her eyes are hidden in shadow. It is clear that Hygieia is powerful and dangerous in her own right. At the same time, it is clear that Hygieia is not the only figure in this painting, hidden amongst her elaborate headdress are the reposing faces of two women and the bare torso of a naked pregnant woman is partially hidden by Hygieia"s red robe. Behind Hygieia, or perhaps within Hygieia, are very human very vulnerable women whose downward gazes, flowing hair and nudity speak much more to traditional depictions of women than Hygieia"s strange defiance and power. Is Hygieia protecting these women? Is she instead threatening such women? Are these women another side of Hygieia, is she both vulnerable and powerful, innocent and mysterious? These questions are swallowed in the inscrutable gaze of Klimt"s Hygieia.