Once again, Judith attired in red. Or half attired in red. Or half attired.
This time, offset by a white stole and standing before a green drape. All the colors working to frame her face with the look of suspicion or distrust or disdain. The furrowed brow, the protruding lip, the slight lift of the head suggest she is looking down her nose at the viewer – wary or leery of giving her trust. Even the way she holds the sword between herself and the viewer suggests a defensive stance, just in case her wariness is well-founded.
As Petermann describes his work:
“I paint mysterious allegorical female figures. Pop-Art, Impressionism, American Realism… The soulmates of my art are many, but the essence of my paintings is a modern Symbolism. I reinterpret icons, symbols and concepts that range from the Bible to Pulp Fiction and from Circe to Catwoman. They express my very own interpretation of what moves the human mind and soul.“ (1)
What moves the human mind and soul to murderous acts must be robed in red.