Klimt’s The Kiss: 23.75-Karat Gold, 27 Years with Emilie, and Last Words That Changed Everything

Last updated: May 2026 · By Stanislav Arnautov · Berlin

Gustav Klimt’s The Kiss (Der Kuss, 1907–1908) is the most romantic and most specifically biographical painting in the Western tradition: a monumental 180 × 180 cm composition entirely covered in 23.75-karat gold leaf and warm flat colour, in which two figures embrace at the edge of a flower-covered cliff, the man bending to kiss the woman’s cheek, both enclosed in a single flowing golden robe. The work is not identified in its figures — the documentation does not name the man or the woman — but the widely accepted biographical interpretation, supported by Klimt’s life and the 27-year relationship with his companion Emilie Flöge, reads it as Klimt’s most intimate self-portrait: the man and the woman at the edge of something that could be the world’s boundary, their eyes closed, the gold enclosing them from everything outside. At the Belvedere Vienna. DeckArts Berlin from ~$140.

What Is The Kiss? Oil, Gold, and the Belvedere Vienna

The Kiss was painted between 1907 and 1908, during the height of Klimt’s Golden Phase (approximately 1899–1910) and was exhibited at the Wiener Kunstschau (Vienna Art Show) of 1908 — the exhibition that Klimt organised with Josef Hoffmann and Kolo Moser as the Vienna Secession’s major statement of the year. At the Kunstschau of 1908, The Kiss was the centrepiece and the most celebrated work in the exhibition. The Austrian state — through the Oesterreichische Staatsgalerie (now the Belvedere) — purchased the painting directly from the exhibition for 25,000 Kronen, a sum that was extraordinary for a living Austrian artist at that time. It has been at the Belvedere Vienna since 1908 and has never left Austria’s national collection.

The medium: oil on canvas with silver leaf and gold leaf applied to the canvas surface using traditional oil gilding technique (oil-based adhesive, cut-leaf application, burnishing). The specific gold specification: 23.75-karat leaf — a standard European gold-leaf specification that contains a trace alloy for workability. The silver leaf in the woman’s robe: Klimt used silver leaf for the specific cool silvery quality of the circular floral elements in her dress, which are distinguished from the man’s angular gold-and-black robe by their specific organic warm-cool contrast (silver circles versus gold squares).

The dimensions: 180 × 180 cm. Square format. The square format is unusual for a monumental figurative composition in the Western academic tradition; the specific choice of a square canvas produces a composition without the standard landscape or portrait orientation’s directional pull. The square format’s effect: the composition is equally stable on all four axes; it reads as a closed, self-complete world rather than as a directional narrative event. The two figures at the composition’s centre are enclosed in the gold as a complete world, not as an episode in a narrative that extends beyond the canvas’s edges. See: Belvedere Vienna — The Kiss.

The Gold: 23.75-Karat Leaf, Byzantine Mosaics, and the Vienna Secession

Klimt’s use of gold leaf in The Kiss — and in his entire Golden Phase programme — has a specific historical and technical origin: his 1903 journey to Ravenna, Italy, where he encountered for the first time the Byzantine mosaic tradition in the early Christian churches of Sant’Apollinare Nuovo and San Vitale. The specific quality of Byzantine gold-ground mosaic that Klimt carried back from Ravenna: the use of a literal gold surface as the primary space of the composition. In Byzantine art, the gold ground is not a representation of a golden background; it is the literal gold surface of the mosaic that functions as the space in which the holy figures exist. The figures do not inhabit a receding three-dimensional atmospheric space; they exist on the gold plane’s surface.

This Byzantine flat gold-ground programme is precisely what Klimt applied to The Kiss and to his Golden Phase paintings generally: the gold is not a painted representation of goldness; it is a literal gold leaf surface applied to the canvas and burnished, through which the figures emerge as warm flesh tones and specific decorative oil-painted patterns. The specific biographical chain: gold engraving (Klimt’s father’s craft, the childhood experience of working metal surfaces) → Ravenna 1903 (the adult artist’s first encounter with the full-scale gold-ground tradition in a historic context) → The Kiss 1907–1908 (the specific synthesis of childhood material knowledge and adult iconic programme).

The Vienna Secession context: The Kiss was exhibited at the Kunstschau of 1908 as the centrepiece of the Vienna Secession’s most ambitious exhibition. The Vienna Secession — founded by Klimt in 1897 with the motto “To every age its art, to every art its freedom” (Ver Sacrum) — was Austria’s answer to the international Art Nouveau movement: an attempt to synthesise fine and decorative arts, painting and craft, and the specific qualities of the Viennese cultural tradition into a new visual language. The Kiss is the Vienna Secession’s most specific and most celebrated achievement: fine art (oil on canvas) combined with applied craft (gold-leaf gilding), in a composition that erases the boundary between the figure’s body and the decorative surface they are both clothed and enclosed in. See: Klimt: Complete Biography.

Emilie Flöge: 27 Years, the Fashion Salon, and the Last Words

Emilie Louise Flöge was born on 30 August 1874 in Vienna, the daughter of the pipe-maker Hermann Flöge and his wife Barbara Flöge. She became Klimt’s companion through the family connection: her elder sister Helene Flöge had married Klimt’s brother Ernst Klimt in 1891; when Ernst died in December 1892 (of pericarditis, aged 28), Klimt became the guardian of Ernst and Helene’s infant daughter Helene. The guardian-ward relationship brought Klimt into regular contact with Emilie Flöge, who was then 18 years old.

The relationship that developed between Klimt and Emilie Flöge over the following 27 years — from 1891 until Klimt’s death in February 1918 — is the most specific and most documented long-term personal relationship in Klimt’s life. Its nature: whether it was romantic and/or sexual, or whether it was primarily an intense friendship and creative partnership, is not definitively documented in surviving sources. The specific surviving evidence: approximately 400 postcards and letters from Klimt to Emilie (the correspondence from Emilie to Klimt does not survive; she burned it after his death); the photographs of Klimt and Emilie together at their Attersee summer retreat (Klimt and Emilie spent every summer at Attersee in the Austrian Alps from approximately 1900 onward, where Klimt painted the Attersee lake landscapes and Emilie modelled the Wiener Werkstätte reform dresses she designed); and the accounts of contemporaries who described their relationship as the most important of either person’s emotional life.

Emilie Flöge’s independent professional identity: she was not a passive companion. With her sisters Helene and Pauline, she co-founded the Schwestern Flöge fashion salon (Flöge fashion house) in Vienna in 1904, at the premises on the Mariahilfer Straße. The salon specialised in the Wiener Werkstätte’s reform dress aesthetic — loose, unstructured garments that rejected the corset’s constraints and used natural textiles and flat decorative patterns in place of the period’s conventional fashion. Klimt designed fabric patterns for the Flöge salon; Emilie modelled the reform dresses in the photographs that documented both the salon’s offerings and Klimt’s personal aesthetics. The reform dress photographs of Emilie Flöge at Attersee are among the most specific visual documents of their partnership: Emilie in the loose flat-patterned reform dresses, Klimt photographing her in the sunlight above the lake, in the specific freedom of summer away from Vienna’s social constraints.

The Figures’ Identities: Documented and Undocumented

The specific question of whether the man in The Kiss is Klimt and the woman is Emilie Flöge has never been definitively resolved in the surviving documentation. No contemporary source identifies the figures by name; no letter, diary entry, or interview with Klimt or Emilie documents the specific biographical identity of the Kiss’s figures. The identification of the man as Klimt and the woman as Emilie is a biographical interpretation — the most widely accepted and most biographically consistent interpretation — not a documented fact.

The evidence for the Klimt-Emilie interpretation: (1) The man’s robe has decorative elements (black-and-white rectangular blocks, gold geometric patterns) that correspond to the decorative programme of other objects Klimt designed or was associated with; (2) Klimt had a practice of using personally specific decorative programmes in his own robes and in the robes of figures in his paintings; (3) The timing — the painting was made during the height of the Klimt-Emilie relationship, in 1907–1908, when Klimt was spending summers with Emilie at Attersee; (4) The emotional programme of the composition — the specific intensity of the embrace, the closed eyes, the kneeling proximity at the edge of the flower-covered cliff — is consistent with a personal rather than a commissioned figurative programme. These four lines of evidence are suggestive but not conclusive.

The alternative interpretations: the man and woman may be ideal types (the universal couple, not specific individuals); they may be Viennese models known to Klimt but not personally significant; or they may be composite figures combining multiple biographical references without being specifically identifiable as single individuals. The uncertainty of the figures’ identities is, in the biographical programme of The Kiss, a specific and permanent openness — the same specific quality as the Pearl Earring’s never-identified subject and the Mona Lisa’s long-undocumented identity.

The Composition: Flowers, Robes, and the Cliff Edge

The composition of The Kiss has three specific elements that most domestic viewing does not discuss but that generate the most specific biographical content at close range:

The flower-covered cliff edge. The two figures kneel (or stand) on a narrow projecting ledge of ground that is covered in flowers — small, specific, individually painted flowers in gold, red, white, and blue, rendered with the flat decorative specificity of Klimt’s most careful botanical programme. The ledge is at the edge of a void — the flowers give way to the gold background below and to the left, with no ground visible beyond the narrow floral ledge. The specific compositional statement: the two figures are at the world’s edge. There is no further ground. The embrace is at the last available position before the void.

The woman’s flower crown and closed eyes. The woman’s head is turned to receive the kiss; her eyes are closed; her expression is the most specific figurative element in the entire composition. The specific quality of her expression — which is simultaneously surrender, protection, and something close to ecstasy — is the compositional element that has generated the most diverse scholarly and popular responses. Her face is the only element in the composition that is fully three-dimensionally modelled in the naturalistic Western tradition; everything else (the robes, the background, the floral ground) is flat and decorative. Her face alone has depth; everything around it is surface. The specific compositional programme: in a composition of flat gold surfaces, the woman’s face is the only three-dimensional event.

The robe’s programme. The man’s robe and the woman’s robe are formally differentiated: the man’s uses angular black-and-white rectangular blocks and gold geometric pattern (masculine, architectural, structured); the woman’s uses organic circular floral elements in silver and warm tones (feminine, botanical, flowing). Together, they merge into a single flowing form that encloses both figures — the geometric and the organic, the angular and the circular, the gold and the silver, unified into a single robe that is both and neither. The robe’s unity is the compositional metaphor for the couple’s union.

Klimt’s Golden Phase: 1899–1910

The Kiss was made at the height of Klimt’s Golden Phase, the approximately ten-year period (1899–1910) during which gold leaf and gold paint were the dominant materials of his major compositions. The Golden Phase’s specific works, in approximate chronological order:

• Pallas Athene (1898): Not yet fully in the Golden Phase but using gold leaf on the armour; the transition work.
• Judith I (1901): The first fully golden-phase composition — gold collar, gold frame, dark ground; the power of the femme fatale in gold at the Belvedere Vienna. See: Judith I at DeckArts.
• Beech Forest I (1902): The mosaic quality of the forest floor as a flat decorative gold-green surface; the Golden Phase applied to landscape.
• Portrait of Adele Bloch-Bauer I (1907): Four years, 100+ preparatory drawings; the most Byzantine-influenced; the most fully gold-on-gold Golden Phase composition. $135 million, Neue Galerie New York. See: Klimt Adele: The $135 Million Restitution.
• The Kiss (1907–1908): The Golden Phase’s most emotionally accessible and most romantically specific composition. See: The Kiss at DeckArts.
• The Tree of Life (1905–1909, Stoclet Frieze): The most UNESCO-protected Klimt composition; gold spirals as the axis mundi. See: Tree of Life at DeckArts.

After approximately 1910, Klimt’s Golden Phase began to transition toward a warmer, more Post-Impressionist colour field (the Portrait of Adele Bloch-Bauer II, 1912; the late landscapes). The Kiss is the Golden Phase’s peak: the most gold, the most emotionally accessible, and the most compositionally resolved of the major Golden Phase works.

“Fetch Emilie”: The Last Words and What They Mean

On 11 January 1918, Gustav Klimt suffered a stroke in his studio in Hietzing, Vienna. He was 55 years old. He was taken to the General Hospital of Vienna (Allgemeines Krankenhaus), where he died on 6 February 1918, 26 days after the stroke, of pneumonia (a complication of the stroke’s immobility). The influenza pandemic of 1918 was by this point spreading through Vienna; Klimt’s pneumonia may have been complicated by influenza, though the specific causal relationship is not documented.

His last documented words, as reported by the people present at the hospital: “Hol’ die Emilie” — “Fetch Emilie.” He said this after the stroke, during the 26 days of his hospitalisation, in a period when his speech was limited by the stroke’s neurological effects. He was calling for Emilie Flöge.

Emilie Flöge came to the hospital. Whether she arrived in time to speak to Klimt before his death is unclear in the surviving accounts. He died on 6 February 1918. Emilie Flöge outlived him by 34 years; she died on 26 May 1952, aged 77. After Klimt’s death, she burned her entire correspondence with him — every letter he had written to her, and presumably the letters she had written to him. The approximately 400 surviving postcards (sent by Klimt to Emilie) were not burned because they were not private correspondence in the same sense; they were postcards, semi-public documents by their nature. The private letters are gone.

The specific biographical significance of the last words for domestic display: the man who painted The Kiss — the most widely reproduced romantic image in Western art history — died saying “Fetch Emilie.” He did not say the names of his many documented romantic partners (Klimt had multiple simultaneous relationships throughout his adult life and was the father of at least fourteen documented illegitimate children by various women). He said Emilie’s name. The woman for whom no documentation of a sexual relationship survives, who burned the letters, who outlived him by 34 years. “Fetch Emilie.” The most specific biographical content of any death in the Western art tradition.

At the Belvedere Vienna: The Austrian State Purchase of 1908

The Kiss has been at the Belvedere Vienna since 1908, when the Austrian state purchased it directly from the Kunstschau exhibition for 25,000 Kronen. It has never been sold, never loaned to another permanent collection, never left Austria. It is the centrepiece of the Belvedere’s Upper Belvedere building’s permanent collection — displayed in the room known as the Klimt Room, which houses The Kiss, Judith I, and other major Klimt works from the Golden Phase.

The Belvedere is the most visited museum in Austria and The Kiss is its most visited work. The annual visitor count for The Kiss specifically: approximately 1.5–2 million people stand in front of The Kiss at the Belvedere each year — making it one of the most visited individual works of art in the world, alongside the Mona Lisa, the Night Watch, and the Starry Night. The specific quality of the in-person encounter with The Kiss at the Belvedere: at 180 × 180 cm, the composition is larger than most people expect — the figures are approximately life-size. The gold leaf in the original is physically present in a way that no reproduction can capture: the specific quality of burnished 23.75-karat gold leaf under controlled museum lighting produces a warm, directional, physically material gold quality that photographs consistently fail to reproduce. See: Belvedere Vienna — The Kiss.

Klimt’s Life: 1862–1918

Gustav Klimt was born on 14 July 1862 in Baumgarten, a working-class suburb of Vienna, the second of seven children. His father Ernst Klimt the Elder was a gold engraver from Bohemia — the most specific biographical origin of the adult artist’s obsession with gold surfaces. He studied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna from 1876, training in decorative painting and fresco technique. His early career (1880s) as a successful commercial decorator of the Ringstraße’s public buildings (Kunsthistorisches Museum, Burgtheater) gave him the technical mastery of large-scale surface decoration that would later underlie the Golden Phase’s programmes.

His brother Ernst Klimt, with whom he shared a studio and a commercial decorating practice, died in December 1892 aged 28. Klimt was devastated; after Ernst’s death, his style began its transformation away from academic historicism toward the personal symbolic programme of the Secession period. In 1897 he co-founded the Vienna Secession with Josef Maria Olbrich, Josef Hoffmann, and Kolo Moser. The Secession’s first exhibition in 1898 established Klimt as the leading figure in Austrian modernism.

Klimt’s personal life: never married; approximately 14 documented illegitimate children by various women; lifelong companion Emilie Flöge. His studio in Hietzing (13th District, Vienna): he kept up to seven cats, wore a long blue painter’s smock (caftan) without shoes in the studio, and maintained a famously chaotic and personally reclusive domestic life in contrast to his social prominence as Vienna’s most celebrated artist. He died on 6 February 1918, aged 55, saying “Fetch Emilie.” He is buried in the Hietzinger Friedhof (Cemetery) in Vienna’s 13th District. His estate was left to his mother and sisters, with a specific bequest to Emilie Flöge of specific personal items including jewellery and his personal copy of certain Japanese art books that had been central to his visual education.

The Kiss for Home Decor: Bedroom, Hallway, Living Room

The Kiss is the most widely purchased and most universally recognised romantic art in the DeckArts range and in domestic classical art globally. Its specific domestic value: the gold’s warm advance from both warm white walls (warm-on-warm advance) and navy walls (warm-from-cool advance at maximum contrast) makes it one of the most wall-colour-versatile classical art pieces available; its universal cultural recognition produces immediate guest engagement; and its specific biographical programme (27 years, last words “Fetch Emilie,” burned letters) provides permanent inexhaustibility beneath the surface of its visual familiarity.

On navy (the canonical The Kiss installation): The gold figure advances from the cool navy dark at maximum warm-cool chromatic contrast. The navy dark is continuous with the composition’s own dark ground behind the figures; the wall and the composition’s background merge into a single dark field from which the gold advances. The most dramatically beautiful and most photographically specific Kiss installation. Above the bedroom bed on navy: the most consistently photographed Airbnb and domestic bedroom art installation in the Art Nouveau/Klimt category. See: Navy Blue Room Wall Art 2026.

On warm white (the most versatile Kiss installation): The gold figure advances from the warm white at warm-warm advance: quieter, warmer, more botanically domestic. Above the hallway console on warm white: the romantic threshold figure at the bilateral domestic arrival and departure point. Above the living room reading chair on warm white: the most intimate positioning, where the 180 × 180 cm original’s intimacy is recreated at DeckArts’ domestic scale. Above the kitchen side wall on warm white: the warm gold as the domestic cooking space’s accent programme. View The Kiss at DeckArts →

Wall colour comparison:

Five Complete The Kiss Programmes

Programme 1: The Romantic Bedroom Above Bed (~$140)
Navy above-bed feature wall (floor to ceiling) + The Kiss single (~$140) at 165–175 cm centre (safety wire mandatory) + warm cream linen bedding + aged brass 2700K bedside lamps + directed 2700K track spot on The Kiss (separate dimmer). The gold figure from the cool navy dark above the sleeping position: the most romantically specific Airbnb and domestic bedroom art installation globally. “He died saying ‘Fetch Emilie.’ She burned every letter he wrote to her.” Total art: ~$140. See: Best Wall Art for a Bedroom 2026.

Programme 2: The Romantic Hallway Threshold (~$140)
Warm white hallway wall + The Kiss single (~$140) at 135–155 cm above the hallway console + one narrow brass candleholder with beeswax taper candle (off-centre left) + directed 2700K wall sconce beside the console. The most romantic domestic threshold art above the threshold the couple uses daily. Total art: ~$140. See: Art Above a Console Table 2026.

Programme 3: The Art Nouveau Living Room Two-Piece (~$590)
Navy primary sofa wall + Tree of Life triptych (~$310) above the sofa at 155–165 cm (the axis mundi from navy dark; UNESCO Brussels) + The Kiss single (~$140) on the adjacent wall at 155–165 cm (the romantic human programme beside the cosmic programme) + warm cream sofa + aged brass floor lamp (2700K) + directed 2700K track spot on both pieces. Two Klimt biographical programmes: the cosmic and the human. Total art: ~$450. See: Art Nouveau Home Decor 2026.

Programme 4: The Art Nouveau Gallery Wall (~$590)
Navy wall + Tree of Life triptych (~$310) anchor at centre + The Kiss single (~$140) at 8 cm left gap + Judith I single (~$140) at 8 cm right gap. All three Klimt; all gold from navy dark; three completely different biographical programmes: the cosmic (axis mundi, UNESCO Brussels) + the romantic (27 years, last words “Fetch Emilie”) + the femme fatale power (Judith I, Belvedere Vienna). Total art: ~$590. See: How to Style a Gallery Wall 2026.

Programme 5: The Couples Home Programme (~$280)
Warm white throughout + The Kiss single (~$140) above the bedroom bed at 165–175 cm + Almond Blossom single (~$140) above the kitchen or reading chair at 155–165 cm. The romantic programme above sleep; the botanical spring programme above the domestic daily space. “He painted The Kiss and died saying her name. He painted Almond Blossom for his newborn nephew.” Two programmes; two completely different biographical traditions; total art: ~$280. See: Van Gogh Almond Blossom: Complete Guide.

FAQ

What is Klimt’s The Kiss painting?

The Kiss (Der Kuss, 1907–1908) is a 180 × 180 cm oil-on-canvas composition with 23.75-karat gold leaf by Gustav Klimt, at the Belvedere Vienna since 1908. Two figures embrace at the edge of a flower-covered cliff, both enclosed in a single flowing golden robe. The man’s robe uses angular gold-and-black geometric elements; the woman’s uses organic silver-and-warm floral circles. The woman’s eyes are closed. The specific biographical interpretation: the man is Klimt and the woman is Emilie Flöge, his companion of 27 years. Klimt’s last words: “Hol’ die Emilie” (“Fetch Emilie”). He died on 6 February 1918, aged 55. The Austrian state purchased it for 25,000 Kronen in 1908 and it has never left Austria. See: Belvedere Vienna. DeckArts The Kiss single from ~$140.

What do Klimt’s last words “Fetch Emilie” mean?

After a stroke on 11 January 1918, Klimt’s last documented words in hospital were “Hol’ die Emilie” — “Fetch Emilie” — calling for Emilie Flöge, his companion of 27 years. Klimt had multiple documented romantic relationships throughout his adult life and was the father of at least 14 illegitimate children by various women. He said none of their names. He said Emilie’s name. Despite no surviving documentation of a sexual relationship (Emilie burned their entire private correspondence after his death), the last words establish the biographical programme unambiguously: the most important relationship in Klimt’s life was the 27-year partnership with Emilie Flöge. He died on 6 February 1918. She outlived him by 34 years and died in 1952, aged 77. DeckArts The Kiss single from ~$140. Belvedere Vienna.

Is the woman in The Kiss Emilie Flöge?

The widely accepted biographical interpretation identifies the man as Klimt and the woman as Emilie Flöge, but this has not been definitively established in the surviving documentation — no contemporary source names the figures. The evidence: the timing (painted at the height of the Klimt-Emilie relationship, 1907–1908); the man’s robe’s personal decorative programme; the emotional intensity of the composition; and Klimt’s documented practice of using personally specific references in his major works. The uncertainty of the figures’ identities is permanent — like the Pearl Earring’s never-identified subject. The most biographically honest answer: probably yes, but not definitively documented. See: Klimt: Complete Biography. DeckArts from ~$140.

What wall colour works best with Klimt’s The Kiss?

Navy (the most dramatic installation): the gold figures advance from the cool navy dark at maximum warm-cool chromatic contrast; the navy’s dark ground is continuous with the composition’s own dark background. Best for: bedroom above the bed (the most consistently photographed and most romantically specific Airbnb and domestic bedroom installation). Warm white (the most versatile): warm gold advances gently from the warm neutral; most appropriate for hallway, console table, reading chair, kitchen, and apartment living rooms. Forest green: warm gold from organic botanical dark; most appropriate for library and living room feature walls. 2700K warm LED directed spot mandatory for all installations. As Belvedere Vienna documents, the original gold leaf quality is best approximated in domestic display by warm 2700K directional lighting. DeckArts The Kiss single from ~$140.

Article Summary

Klimt’s The Kiss (Der Kuss, 1907–1908, 180 × 180 cm, oil with 23.75-karat gold leaf, Belvedere Vienna since 1908) is the most widely recognised romantic painting in Western art and the most specifically biographical of Klimt’s major works. Eight specific biographical and technical facts: (1) 23.75-karat gold leaf applied over oil gilding size on canvas, inspired by the 1903 Ravenna Byzantine mosaic journey; (2) square format (180 × 180 cm) — deliberately non-directional, self-enclosed; (3) two figures at the edge of a flower-covered cliff above a void — at the world’s boundary, no further ground available; (4) the woman’s face is the only three-dimensionally modelled element in a composition of flat gold surfaces; (5) the man’s angular gold-and-black geometric robe and the woman’s organic silver floral robe merge into a single flowing form — compositional metaphor for the couple’s union; (6) the figures’ identities are not documented; the widely accepted interpretation reads them as Klimt and Emilie Flöge; (7) the Austrian state purchased it for 25,000 Kronen in 1908 directly from the Kunstschau exhibition — it has never left Austria; (8) Klimt’s last words: “Hol’ die Emilie” — “Fetch Emilie.” He died aged 55. She burned all his letters and outlived him by 34 years. DeckArts The Kiss single (~$140): on navy (maximum warm-cool contrast, most dramatically beautiful bedroom installation) or warm white (warm-warm advance, most versatile domestic programme). Ships from Berlin. 30-day return.

About the Author

Stanislav Arnautov is the founder of DeckArts and a creative director from Ukraine based in Berlin. DeckArts produces classical fine art on Grade-A Canadian maple skateboard decks, shipped from Berlin.

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