Klimt’s Puzzle: The Wait

On the opposite wall, corresponding to the Waiting, Klimt depicted The Completion .

It is symbolized by an embracing couple, a reworking of the final scene of the Beethoven Frieze.
Although in this case the ornamental epidemic dominates, every aspect is conceived in explicit opposition to the dancer of the Waiting .
While her figure appeared icy and caught in a moment of suspension, the man and woman are depicted in an attitude of peace and fulfillment. The dancer’s dress was composed of geometric shapes that expressed rigidity, while the couple’s outfits, on the other hand, feature circles and phytomorphic motifs.

The frieze for the Stoclet Palace undoubtedly represents the pinnacle of Klimt’s decorative style . The human figures themselves are recognizable as such only by their heads and arms. In fact, three-dimensionality and anatomy are nonexistent, and every other detail is rendered as if it were an arabesque background.
The repertoire of themes is very vast and ranges from animals to geometry, from the plant world to Eastern religious symbolism, from which the motif of the omniscient eye is taken.

The cartoons preserved in Vienna are a precious testimony to the artist’s working method, which he created with the precision of a finished work, using tempera and watercolour colours, gold and silver applications, chalks and pencils.
Furthermore, the surface is dotted with handwritten notes , in which Klimt prescribed changing the orientation of a scroll, or gave concise instructions on how to create a detail, for example asking to use for a portion of the background “some white material, a little raised and smooth. Very white. Not mosaic”.

The panels, made by the Wiener Werkstätte workshops, were assembled in 1911 and are still located in Brussels.

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