Franz von Stuck's Sin uses a minimalist color scheme to
characterize its subject, a partially nude woman, as a symbol
for lust. The woman's navel and hips, as well as much of her
breasts, are not only exposed but also illuminated, and the
strands of dark hair falling over her hip increase the
painting's eroticism. By contrast, her face is in shadow, framed
by her dark hair, and she is surrounded by darkness. This
contrast emphasizes the woman's sensual (and sinful) nature and
obscures her human nature. The giant snake wrapped around her, a
sinister image in its own right, presumably alludes to the
serpent that tempted Eve in the book of Genesis. An orange patch
in the background symbolizes the fires of hell. 1. Is Sin meant
to be sensually appealing, morally revolting, or both? How does
it relate to the moral and artistic ideals of the so-called
Decadents? Consider, for example, the Victorian Web article on
Charles Baudelaire. 2. In Genesis, Eve is a victim as well as an
agent of temptation. Is the portrayal