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Puzzle Labbraccio Di Klimt 1000 Pezzi Immagine Dettaglio

Puzzle Labbraccio Di Klimt 1000 Pezzi Cornice Quadro

Additional information

Number of pieces	1000 piece puzzle
Brand	D-Toys
Atmosphere	Inspiring
Artist	Klimt
Opportunity	Gift
art museum	MAK, Vienna
Dimensions of the work	121 cm × 194 cm
Difficult	Difficult
Puzzle Dimensions	68 cm x 47 cm
Box Dimensions	38 cm x 26.5 cm x 5.5 cm
EAN	594750286692312

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Home / Shop / Klimt’s The Embrace Puzzle – 1000 pieces

Klimt’s The Embrace Puzzle – 1000 pieces

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SPECIFICHE

DESCRIZIONE

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24,90€

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Discover one of the gilded masterpieces of the great Austrian master Gustav Klimt: the puzzle “Klimt’s Embrace.” This 1000-piece puzzle from D-Toys lets you enter the magnificent gilded world of the leading painter of the Great Viennese Secession and discover Klimt’s magnificent golden period.

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Puzzle Features

Klimt’s The Embrace puzzle is one of the most fun and fascinating ways to discover art piece by piece.

Indeed, thanks to this wonderful 1000-piece art puzzle from D-Toys, you can discover all the marvelous and precious brushstrokes of the great master of the Viennese Secession. The extensive use of gold and mixed techniques, combining portraiture and mosaic, make Klimt’s paintings incredibly powerful and communicative.

The hug puzzle is suitable for both experienced puzzle makers and beginners thanks to its simple backgrounds and variety of colors, which make the puzzle experience a moment of pleasure to share.

The puzzle, the embrace, Klimt

The subject of the 1000-piece puzzle Klimt’s Embrace by D-Toys is a fascinating example of the grandeur and magnificence of the Viennese Secession.

The subject of the puzzle, the hug, is extremely engaging with its strong gold color and the emotional strength of the scene.
The puzzle’s lines are bold, the colors bright , and the details are accurate and refined. The puzzle pieces are sturdy and the interlocking is of excellent quality.

	Number of pieces 1000		Brand D-Toys
	Puzzle dimensions (cm) 68 x 47		Box dimensions (cm) 38 x 26.5 x 5.5

Description of the artwork

Klimt designed three panels to decorate the Palais Stoclet . On the short side of the room he planned an abstract, purely ornamental subject, while for the two long sides he created seven-meter-long cartoons, entirely occupied by the curling branches of Klimt’s Tree of Life, placed at the center of the composition, above a narrow strip of land.

At one end, on both walls, another small tree appears, whose triangular leaves overlap the golden scrolls; at the opposite end, two different figurative scenes are inserted, conceived as pendants on the opposite wall: Klimt’s ‘Waiting’ and ‘Klimt’s Embrace’ (Klimt’s Completion).

Klimt’s decorativism

The Embrace is a reworking of the final scene of Beethoven’s figurative frieze The Consummation. It is symbolized by a couple.
Although here too the ornamental epidemic dominates, every aspect is conceived in explicit contrast to the Waiting Dancer. While her figure appears icy and caught in a moment of suspension, the man and woman are depicted in an attitude of peace and fulfillment.
In fact, the dancer’s dress was composed of geometric shapes that expressed rigidity, while the couple’s clothes were dominated by circles and phytomorphic motifs.

The Stoclet Palace frieze undoubtedly represents the pinnacle of Klimt’s decorative style. The human figures themselves are recognizable as such only by their heads and arms: three-dimensionality and anatomy are nonexistent, and every other detail is rendered as if it were an arabesque background.

The frieze of the Stoclet Palace

Josef Hoffmann, born in 1870, was a student of Otto Wagner and a member of the Secession group of artists. He designed many residential and collective buildings, as well as exhibition pavilions and furniture and furnishings. His style is characterized by a predilection for clean, linear geometric forms, often decorated with delicate black and white duotones.
One of the greatest examples of Art Nouveau architecture is the Palais Stoclet , which the Viennese architect built in Brussels between 1905 and 1911.
More than any other of his works, Palazzo Stoclet embodies the true Art Nouveau ideal of harmony and collaboration between the various arts. Every single detail of the building, in fact, is an integral part of an overall design. Thus, the architecture and the garden, the outdoor spaces and the furniture, the furnishings of the various rooms, right down to the cutlery and household items, are all connected by a constant interplay of formal references and reflections.

This large urban villa, with the consistency of a castle, is based on the articulation of the surfaces through their framing which makes them
visually independent from the volume to which they belong. The entire volumetric block is thus dematerialized and reduced to a sequence of clear, empty surfaces, like light fabrics within large geometric panels.
The internal halls and rooms follow one another like precious treasure chests, each characterised by a dominant motif that defines the chromatic values, the furnishings, and the design of the coverings.
One of the most intense spaces, where this continuity between art and architecture becomes even more evident, is that of the dining room.

Occupied in the centre by a large rectangular table, covered to the full height
with marbles that seem to hang like precious fabrics, it presents on the walls two large mosaics by Gustav Klimt in which some human figures emerge with
their geometric and rectilinear shapes on the background of a large series of spirals that widen like a sky populated by small clouds.

The frieze of the Stoclet Palace

On the opposite wall, in correspondence with the ‘Embrace’, Klimt depicted the ‘Waiting’.
This figure represents the shape of a
Egyptian dancer as the final scene of the Beethoven Frieze
The woman in the Waiting scene has her face in profile, her long eyes looking into the distance. Everything about this splendidly adorned woman becomes decoration, starting with her shock of black hair, which is unnaturally extended, providing a visual anchor to her face, bare shoulder, and hands.

The latter, to which Klimt often gives particular positions, are oriented with a dance movement in the same direction as the gaze. Below the head, which is completely off-axis with respect to the rest of the body, the ballerina’s dress unfolds, designed as a long triangle that completely conceals the anatomy.

The fabric is composed of triangles, softened by the golden curls of Klimt’s Tree of Life motif. They are also interspersed with horizontal bands of different colors, transforming the dress into pure ornamentation.

The frieze for the Stoclet Palace undoubtedly constitutes the pinnacle of Klimt’s decorative trend .

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.

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Klimt’s The Embrace Puzzle – 1000 pieces

Altri puzzle di Klimt

Puzzle Features

The puzzle, the embrace, Klimt

Description of the artwork

Klimt’s decorativism

The frieze of the Stoclet Palace

The frieze of the Stoclet Palace

Reviews

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