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  • L'albero della vita
  • L'albero della vita
  • The tree of life
  • The tree of life
L'albero della vita

The tree of life

The original work is a mosaic of precious metals that decorates the dining room of Stoclet Palace in Brussels and it is a marvellous example of Art Nouveau. The three panels from which the painting is composed: The waiting, the tree and the embrace, are rich in symbolic elements and they combine many of the themes so dear to Klimt: femininity, Byzantine art, Japanese art, floral motifs, abstractionism, art nouveau.
€167.00
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P-181

Data sheet

Dimensions
cm. 80x100
1 - Characteristics and Properties
Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Water and UV resistant canvas
Remarks
Imported product
The original work is a mosaic of precious metals that decorates the dining room of Stoclet Palace in Brussels and it is a marvellous example of Art Nouveau. The three panels from which the painting is composed: The waiting, the tree and the embrace, are rich in symbolic elements and they combine many of the themes so dear to Klimt: femininity, Byzantine art, Japanese art, floral motifs, abstractionism, art nouveau. The tree is a representation of life and knowledge; located at the centre of the work, it is used by Klimt as a conjunction between the side panels: the bush breaks the coldness of the solitude of the first woman (waiting) with the warmth of the two lovers (hug). The tree is decorated with golden spirals and gems and its branches create a homogeneous, harmonious and tidy tangle. On the left, played by a dancing young woman, we find the wait, a theme that Klimt usually associates with a female figure. The unusual position in which the dancer is put, the clothes she wears, the hairstyle and her elongated eyes, refer to the Egyptian style. On the opposite side a couple embraces with passion: the gesture is a symbol of the reconciliation between the two sexes. The body of the man completely overwhelms that of the woman, leaving a glimpse of her face and a hand only. Their colourful dresses are enriched with golden patterns and geometric figures. The only realistic details within the framework are the faces and hands of the subjects, the only elements that allow us to identify them. On the contrary, their clothes and background, both rich in geometric patterns, play only as decoration and are treated in an abstract manner. With this work Klimt tells us a story: the succession of images gives us the idea that the painter is elegantly telling us a fable in which a girl, among the golden branches of the tree of life, awaits her lover and finally hugs him with transport.

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