Ernst Fuchs & Joseph F. Askew:
Sculpture "Tree of Life", version in gold marble castings


Ernst Fuchs & Joseph F. Askew:
Sculpture "Tree of Life", version in gold marble castings

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Ars Mundi Exclusive Edition | limited 999 pieces | Numbered | Signed | Edition in Marble casting gold painted | Size 30 x 42 x 11 cm (W / H / D) | Weight 2.2 kg

Ernst Fuchs & Joseph F. Askew: Sculpture "Tree of Life", version in gold marble castings

The "Tree of Life" from Fuchs and Askew

It was an appeal to Ernst Fuchs, who nudged the emergence of the "Tree of Life": Originally the sculpture was intended as a reward for people around the world who have made high quality contributions to the preservation of forests. Finally, when the first drafts were made, the client withdrew its request. Fuchs decided to make the artwork yet finished and asked Askew to assist it in the implementation. At the end in the execution flowed so many common ideas in the sculpture that it both now considered as common work.

The "tree of life" meet the ecological ideas with both artists typical mythological fantastic motifs. The ancient symbol of fertility and life abundance appears already in the ancient Near Eastern art and runs through the history of art through the entire ancient world. He is a frequently appearing motif itself in Indian art. As a life (and in the Christian interpretation since the Middle Ages also: the Resurrection) feierndes symbol, he has fascinated the artists of all time - also the modern, think only of Klimt's famous implementation in the Stoclet frieze.

Fuchs and Askew remain figuratively-concretely in their lives tree: The trunk grows out, as a symbol of maternal, life-giving, a female torso, which is surrounded all over with rich foliage.

Ars Mundi Exclusive Edition in three editions: edition cast as a marble font with gold paint, by hand. Limited edition 999 pieces, numbered and signed. Size 30 x 42 x 11 cm (W / H / D). Weight 2.2 kg.

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Born in Vienna in 1930, Ernst Fuchs introduced already during his studies at the Vienna Academy in 1946-47, his works along with other young artists to the audience. He is one of the co-founders of fantastic realism in Vienna School. This artistic movement known was born in 1945 in Vienna and aware of the abstract art borders. The artists were in their works with the French Surrealism, the experience of the new objectivity and Pittura metafisica, as well as the fantastic elements of the pre-war Viennese art. Ernst Fuchs factory has significantly influenced of the 20th Century art.

The motives are complex symbols representing the afflictions of the people between life and death. Biblical and mythological representations dominate. The motives of the old and New Testaments are deliberately cryptic and visionary expressiveness. These puzzles are designed to instruct the viewer as the artist knowledge and solution.

His confrontation with the heterogeneous art traditions led him to a private historicism. He mixed, partly in polemical intentioned shape styles. In his first book "Architectura caelestis / the images of the lost style", in 1964 he published, outlining his artistic conception.

Something mystical and often erotic adheres to the imaginative picture inventions, often alienated by surreal elements. Fox's entire oeuvre is crisscrossed repeatedly by biblical motives. They lead to the unique book object, the Ernst Fuchs Bible.
The Vienna Grand Master of fantastic realism, Ernst Fuchs, and the American painter and sculptor Joseph F. Askew know each other since the mid-70s of the last century. Askew was barely 25-years old as a student at the Art Students League in New York , he took his way to Vienna to learn with Fox the old masters painting techniques, today he mastery dominate like no one else. Askew and Fox remained friends, they were long time neighbours: The Americans lived almost fifteen years in Vienna and moved - as even Fox - he still lives and works in the small artist village Castillon on the Riviera until today.

Designation for an art object (sculpture, installation), which is produced according to the will of the artist in multiple copies in a limited and numbered edition.

Artist's multiple contributed to "democratization" of art as the work was made available and affordable for a wider audience.

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