Gustav Klimt (1862-1918), “Bauerngarten (Blumengarten),” 1907, oil on canvas, 43-1/4 x 43-1/4 in. © Sotheby’s 2017

In this ongoing series for Fine Art Today, we take a longer look at the history and features of a soon-to-be-available artwork of note. This week’s painting is one of this artist’s greatest masterpieces ever to come to auction.

This week’s featured lot is perhaps one of the most anticipated in quite some time. Heading to auction on March 1 via Sotheby’s, London, is a masterpiece of Viennese fin-de-siècle art by the monumental Gustav Klimt (1862-1918). “This remarkable landscape is rooted in the natural world yet simultaneously reaches towards the symbolic, decorative avant-garde,” the auction house reports. “During the summer months, from 1900 onwards, Klimt traveled out of Vienna to Litzlberg on the Attersee with his friends and family to relax and paint. In the rustic garden of the Mayr-Hof Klimt found inspiration for ‘Bauerngarten,’ with its informal profusion of poppies, daisies, zinnia, and roses, and transformed it into a shimmering array of color.”

Produced during the “golden period” of Klimt’s career, “Bauerngarten” was immediately met with celebration and adoration. In fact, the painting is regarded as one of the artist’s finest landscapes. “Bauerngarten” headlines Sotheby’s March 1 “Impressionist & Modern Art Sale” in London; estimate is in excess of $45 million.

To learn more, visit Sotheby’s.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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