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The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt
The Tree of life - Gustav Klimt

The Tree of life - Gustav Klimt

This painting is a mosaic mural by Gustav Klimt, commissioned in 1904 by a Belgian client. It is actually a triptych entitled: "The Waiting", "The Tree of Life" and "The Fulfillment". It represents the complexity of human feelings and is meant to be a symbol of love.

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L'œuvre en bref

This painting is a mosaic mural by Gustav Klimt, commissioned in 1904 by a Belgian client. It is actually a triptych entitled: "The Waiting", "The Tree of Life" and "The Fulfillment". It represents the complexity of human feelings and is meant to be a symbol of love.

The artist

Born into a family of artisans, Gustav Klimt (1862 - 1918) entered the School of Decorative Arts in Vienna at the age of 14 and learned painting and mosaics. The Viennese artist began as a decorative painter on bourgeois villas. In love with art, he gets closer to the symbolist circles and wishes to promote modern art. Dreaming of reconciling painting and architecture, his status as a craftsman prevented him from being recognized as a full-fledged artist, as a barrier existed between the decorative arts and the arts considered as major. Revolted by this state of affairs, Klimt joined the Secessionist group in 1887 and even became its president, eager to promote Viennese art on an international level. An artist who was as much criticized as he was renowned, he moved away from the decorative arts towards the end of his life and turned to Fauvism, which he considered avant-garde.
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