Pear Tree (1903 CE)
A pear tree in full bloom nearly swallows the canvas. Up close it looks like a carpet of green, gold, lavender, and rose; step back, and the dabs resolve into leaves, blossoms, and fruit hanging in a dense canopy.
Beech Grove I (1902–1903 CE)
Beech Grove I, painted around 1902, shows a stand of young beeches so tightly framed that the forest never quite opens. There is almost no sky and no path.
Church in Cassone (1913 CE)
Kirche in Cassone — also known as Church in Cassone or Landscape with Cypresses — shows the hillside hamlet of Cassone stacked like a mosaic.
Approaching Thunderstorm (The Large Poplar II) (1903 CE)
Gustav Klimt’s Approaching Thunderstorm (The Large Poplar II) does not offer the golden shimmer or sunlit gardens for which he is most famous.
At Lake Attersee (1900 CE)
In the summer of 1900 Gustav Klimt pointed his gaze at Lake Attersee and painted almost nothing else. The resulting picture is known as At Lake Attersee or Am Attersee.
Stoclet Frieze (1905-1911 CE)
The nine working drawings laid out in a row are Klimt’s full-scale cartoons for the Stoclet Frieze — the designs from which the mosaics in Brussels were made.
The Kiss (1907–1908 CE)
The Kiss is one of those rare paintings that seems to exist outside ordinary time. Two lovers kneel at the edge of a flowering meadow, their bodies almost dissolving into a single shimmering form of gold..
Hope II (1907–1908 CE)
Hope II shows a pregnant woman standing in a square field of gold-flecked darkness. Her head is bowed and her eyes are closed, as if she is praying for the child she carries.
Danaë (1907 CE)
In Danaë, Gustav Klimt does not show a princess locked in a tower so much as a woman folded into herself. She curls in a near-fetal pose, auburn hair spilling across her face..