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There's something always in the representation of a tree. They are around us always, but did not become a source of a table in the main element of a landscape, to the romance.

Not coincidentally, chose Caspar David Friedrich's naked, pruned branches and challenging snow in desolate landscapes.

Somehow, the Romantic artist in the tree is a projection of human beings. Of all vegetables, the tree resembles the man in his uprightness. Sometimes it is thick and twisted as an old man who has fought and lived long. Other, stands a thin, flexible, and fragile against the elements.

After the romantic view that we find in the wonderful notes Asher Durand, which can be viewed at the Foundation Juan March.

Impressionism The explosion filled sensory effects of color leaves and trees and light of Impressionism. But a spirit tender, like Van Gogh, again strip them of their crown, fixing his attention on his knotty wood, the beauty of her nakedness.

I think we should have some sensitivity to project tormented romantic in winter stems. Van Gogh always projected his mood in his work: melancholy Dutch winter landscapes, when trabajó como predicador entre campesinos que tenían condiciones de vida muy pobres, y explosiva y sensual entre los coloristas campos de Provenza.

La evolución del arte tras el impresionismo parece que evitaba retornar a caminos que proyectaran el alma del artista en la naturaleza. Los elementos formales : investigaciones con el color, con el espacio, con la forma, con los materiales, están empezando a ocupar la mente de los artistas.
Pero en la provinciana Viena las novedades van a llegar más tarde. Klimt hace su propia versión del impresionismo, con influencias del art nouveau.

Comparing the forest of Klimt, decorative and sensual, with trees Schiele, from the same era, is the germ of something distinto.La extreme thinness of the same, dark tones, exuding the same sensitivity to nature Friedrich.

Again the tortured artist's soul finds its true reflection in the trees, painting isolates, each anchored to the ground, without notice, as his human figures, which shrink in on themselves.

And the last surprise. Mondrian before becoming the icon of geometric abstraction in primary. The tree becomes an excuse to partition the space, which is indicative of their concerns to reach the essence of representation and dimensionality. That tree is the seed of a movement, but also a portrait of an artist in the process of evolution.