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Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt
Hope II - Gustav Klimt

Hope II - Gustav Klimt

Entitled "Vision" during Gustav Klimt's lifetime, the work was renamed "Hope II" by association with an earlier painting. Here, a pale, bare-breasted pregnant woman, dressed in a shimmering pattern of polychrome and gold circles, bows her head meditatively. The dress is done in a style that he used in most of the paintings done during his "golden period". Symbols of love, birth and death coexist in a delicate balance. We observe her expanding abdomen, but there is imminent danger: at the foot of the painting, three women bend their heads forward, as if in prayer.

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L'œuvre en bref

Entitled "Vision" during Gustav Klimt's lifetime, the work was renamed "Hope II" by association with an earlier painting. Here, a pale, bare-breasted pregnant woman, dressed in a shimmering pattern of polychrome and gold circles, bows her head meditatively. The dress is done in a style that he used in most of the paintings done during his "golden period". Symbols of love, birth and death coexist in a delicate balance. We observe her expanding abdomen, but there is imminent danger: at the foot of the painting, three women bend their heads forward, as if in prayer.

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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