Approaching Thunderstorm (The Large Poplar II) (1903)
Created during the summer holidays of 1902-1903, 'Approaching Thunderstorm (The Large Poplar II)' by Gustav Klimt captures a solitary poplar tree near the Seehof chapel at Litzlberg. Using a pointillist-like technique with striking hues of orange-red and blue-green in the sky, Klimt creates a dynamic image that conveys the atmosphere of an impending storm. The painting epitomizes Klimt's mastery of color and technique, pushing the boundaries of landscape art in the early 20th century.
1902-1903
About the Artwork
The origins of 'Approaching Thunderstorm (The Large Poplar II)' can be traced back to Klimt's summer retreats at the lake, which allowed him to soak in the natural beauty around him. While visiting the Flöge family at the Litzlberg Brewery, Klimt found inspiration in the dramatic landscapes and the iconic poplar trees that punctuated the horizon. The painting reflects his deep connection to the locale and illustrates the interplay of nature’s beauty and the looming presence of a thunderstorm. Klimt's use of color and innovative techniques, such as his pointillist-like method, captures the vibrant energy of the scene, contributing to its impressive emotional depth and historical relevance in the transition from Impressionism to modern art.
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Location and Creation
The painting is part of the collection at the Leopold Museum in Vienna. It was created during Klimt's summer holidays with the Flöge family at the guest house of the Litzlberg Brewery on the Attersee, where he often found inspiration in the local surroundings.
Subject Matter
The painting features a large poplar tree standing near the Seehof chapel in Litzlberg. The tree is depicted with a unique, pointillist-like technique, described as "trout blotches" by critic Ludwig Hevesi. The sky above the tree is rendered in a range of hues, including orange-red and blue-green, capturing the tense atmosphere of an approaching thunderstorm.
Artistic Style
Klimt's use of color and technique in this painting is notable. The sky is painted with nuanced monochrome shades, which contribute to the overall dark and gloomy mood of the work. The tree itself is depicted with vibrant, almost vibrating surfaces, adding to the dynamic feel of the painting.
Exhibition and Reception
The painting was first exhibited at the Secession’s great Klimt exhibition in 1903, where it received attention for its dark and gloomy mood. Critics at the time noted the intense atmosphere captured by Klimt's depiction of the stormy sky.