The interior of a silhouette is basically featureless, and the whole is typically presented on a light background, usually white, or none at all. The silhouette differs from an outline which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Silhouette images may be created in any visual artistic media. Cutting portraits, generally in profile, from black card became popular in the mid-18th century, though the term “silhouette” was seldom used until the early decades of the 19th century, and the tradition has continued under this name into the 21st century. From its original graphic meaning, the term “silhouette” has been extended to describe the sight or representation of a person, object or scene that is backlit, and appears dark against a lighter background.
FOR THE LOVE OF KLIMT
Whenever I view his work, I fall in love with the variety of shapes we woman come in. Its a return to the cycles of seasons and the cycles within our own hour glasses. His ability to coax the innoncent, delicate and porcelain essence out of every model was remarkable and although his sexuality seemed to haunt the ground before he stepped upon it, it allowed something primal to rise even from the virgins.
Each time I return to his work, I feel like coquettishly laying upon burnt red velvets with golden tassles and having gleaming golden apples fed to me. It allows me to embrace the curves that reside within my flesh and I am reminded I resemble the shapes of the earth.