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The Tree of Life, Stoclet Frieze (French: L'Arbre de Vie, Stoclet Frieze) is a painting by the Austrian symbolist painter Gustav Klimt.It was completed in 1909 and is based on the Art Nouveau (Modern) style in a symbolic painting genre.
Tree of Life detail from the Stoclet Frieze. The Stoclet Frieze is a series of three mosaics created by the Austrian painter Gustav Klimt for a 1905–1911 commission for the Stoclet Palace in Brussels, Belgium. The panels depict swirling Tree of life, a standing female figure and an embracing couple.
The work features women in varying stages of age, symbolizing the cycle of life. The three are central on the canvas and are the focal point of the work. The background has a lack of depth, making it look very two dimensional. The colors are neutral and create a restful effect. [2] Klimt's common use of colorful motifs is also evident in this work.
This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (November 2020) (Learn how and when to remove this message) This page is an illustrative list of Gustav Klimt's major paintings, and represents a chronological look at some of his main pictorial production. The list is ordered by year and ...
Klimt conveyed an ambiguous unity of life and death, with nothing to celebrate the role of medicine or the science of healing. [6] Upon display of the painting in 1901, Klimt was attacked by critics. An editorial in the Medizinische Wochenschrift complained that the painter had ignored doctors' two main achievements, prevention and cure .
Gustav Klimt (14 July 1862 – 6 February 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art.
Like an evergreen tree, a poinsettia plant can be kept alive all year long, while the shape of the petals resembles a star. The colors of the Christmas plants are symbolic as well. The bold red ...
Klimt deliberately ignores any narrative reference whatsoever and concentrates his pictorial rendering solely on to Judith, so much so that he cuts off Holofernes' head at the right margin. And there is no trace of a bloodied sword as if the heroine would have used a different weapon: an omission that legitimates association with Salome . [ 5 ]
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