Gustav Klimt created a sensational era in the early 20th century art by his rebellious works. His paintings were known for the erotic sense displayed in different variations, especially using the female body postures. Some of the paintings such as 'The Kiss' and the ' Mulher Sentada' challenged the taboos imposed on the society in those periods on overt sexual expressions.

Klimt's dedication towards his paintings was commendable. He would spend long hours working on them, preparing a series of sketches before finalizing one. In his earlier paintings, he had worked with a variety of other themes including landscapes, life and death, portraits, etc.

Many of his last works are unfinished. Death attacked him in an unexpected moment of his life, on February 6, 1918, at the age of 56, when he was at the peak of his golden era. The Adam and Eve, The Bride, The Baby (The Cradle), etc. are among the few works that remained unfinished. Yet these works occupy the prime places in the minds of the art aficionado.

The typical golden hue that was seen in most of his paintings was an identifying factor of his paintings that had the live characters in them. The Adam and Eve too is not an exception. The costume color and the body posture of the couple in the dark background remind us of the erotic union of the serpents in the wine yard. The showering red flowers are indications of the thriving life energy that no other artists in the world dared to try with such a force.

'The Baby', one among Klimt's last works, is a sophisticated creation involving a lot of images. The unison of the colors draws the abstract images contained in the painting to form a colorful cradle, with a miniature appearance of the baby's face in it.

'The Bride' unwinds the saga of the life's motivational force, the sex, in the artistic form. This creation showcases a more complicated outlook of the erotica under the name 'bride'. One doubts about Klimt's intention of identifying this big picture with the name of a single bride than by a more suitable name ' The Couples'. Isn't it because of the metaphorical assumption that the life's dynamic force is driven from the feminine creation?