Stoclet Frieze: Fulfillment

Klimt designed a frieze combining mosaic with painted sections for the dining room of the Palais Stoclet in Brussels, which was built between 1905 and 1911 by the Wiener Werkstätte under the direction of Klimt’s friend and fellow Secessionist, the architect Josef Hoffmann. Executed by Leopold Forstner’s Wiener Mosaik-Werkstätte, the frieze consists of 15 marble panels 2 m high, representing an abundantly spreading Tree of Life. In its branches swarm brightly coloured birds and butterflies.

The mosaics adorn the three walls of the dining room. The main panels are referred to as “Expectation”, “The Tree of Life”, and “Fulfillment”. The materials Klimt used in the frieze include ceramic, gilded tiles, pearls, and marble.

In the “Tree of Life” panel, Klimt tackles the age-old symbology of the tree of life, which has been around for thousands of years within theology, philosophy and mythology. This concept dates back to the time of the ancient Egyptians, which seemed to have influenced Klimt in this piece (notice the Egyptian looking eyes and bird located within the tree). The tree of life symbolizes the interconnection of all things, including heaven, hell, earth, life and death.

The “Expectation” panel features a woman in a patterned dress that looks as if she was inspired by ancient Egyptian art as well. Her dress is highly decorative and expands as it nears the ground.

The “Fulfillment” panel features a couple locked in an embrace. The clothes seem to entwine them both together. Elements of the patterned clothing of the figures mimic those found within the tree itself.

The final section, as in the Beethoven Frieze, shows an embracing couple and is also related in style and conception to Klimt’s painting The Kiss.

Today, the mansion is still privately owned by the Stoclet family; it is not open to the public. However, you can see the cartoons for the final “The Stoclet Frieze” mosaic on display at the �sterreichisches Museum f�r angewandte Kunst (Austrian Museum of Applied Arts) in Vienna. The working drawings specify the use of enamel, gold inlay and coloured glass.

The picture shows one of the nine cartoons displayed in the museum.