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Something incredible happened in Brussels in 1905.

The financier and collector Adoplhe Stoclet chooses the architect Josef Hoffmann, one of the leading exponents of the Secession movement, as the architect of his private residence. From their met was born Palazzo Stoclet, a total work of art, a surprise to the Brussels people who will find themselves a piece of Vienna transplanted to the Belgian capital.

The algid geometry characterizes the exterior of the residence, representing a novelty for a city where the curved and sinuous lines of the Art Nuveau triumph. However, the real wonder is in the heart of the residence, the dining room entrusted to the Viennese Gustav Klimt. The “Frieze of Palazzo Stoclet” was the absolute protagonist of the precious environment with the Tree of Life and the “Waiting” positioned on the left and the “Embrace” on the right.

Klimt is one of the best-known exponents of the Secession, a controversial figure in the Vienna of the early twentieth-century, who alternates raw naturalism and abstract decorativism.

His works are first commissioned then rejected and criticized by the University of Vienna, because they considered obscene his representations. His style was very personal and unmistakable, characterized by a high level of preciousness obtained through the use of different materials (gold and glass). He ever used gold leaf in his most famous works, inspired by a trip to Ravenna in 1903 and by the memories of his apprenticeship from his goldsmith father.

His work aims at a refined expression, full of literary and symbolic overtones and an acute sensuality. Klimt was enthused by the unlimited economic possibilities of Adolphe Stoclet, because he was free to express himself. He worked side by side with the craftsmen in the dining room of Palazzo Stoclet. Room was made with marble floor and geometric lines; inserts in black leather inlaid with gold and rosewood on which the large mosaic panels stand out. Inside the Frieze of Palazzo Stoclet, the Tree of Life is an element of conjunction between the rigidity of the “Waiting” and the warm feeling that pervades the “Hug,” a powerful symbol of the entire representation.

Joseph Hoffman defined it “The garden of art and love that, unlike the one facing Palazzo Stoclet, would never have withered.” A tree with a thousand branches that intersect forming clouds and waves and on which Egyptian eyes and flowers stand out.

To the left of the Tree of Life there is L’Attesa, a work of shining impact and great beauty. A female figure with an unnatural posture that turns her gazes towards the narration of the frieze, hairstyle, clothes and face of the woman immediately refer to the Egyptian world and the figurative style of that distant world. On the right, we find the Embrace which represents the culmination of the narrative: two lovers who hug each other in a passionate embrace full of sentiment, the moment when the couple unites after the Wait. Le opere vengono realizzate da Bottega Tifernate in pictografia su tela di lino.

The Bottega Tifernate realizes that works with Pictografia technique on linen canvas.

Pictografia is a method created and patented by Bottega Tifernate that combines innovation with tradition. A processing method that is the result of 30 years of research work that is renewed day after day through collaborations with the most important museums in the world.

Technically, the plastering of the canvas is done hot, in several layers, with bologna chalk and natural glue, prepared in a bain-marie. The processing, with oil colors, gives a unique brilliance that goes perfectly with gold. Gold that is applied in 18 kt. Leaf, completely by hand and finished with a curved to recreate every detail. The relief parts are created with a mixture of hot plaster and natural glue. All this, allows you to recreate not a simple copy but a work that can feel real emotion.


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