134
NEUNUNDNEUNZIG KÖPFE - BEIORDNUNG VON 99 KÖPFEN
NINETY-NINE HEADS
QUATRE-VINGT-DIX-NEUF TETES
Vienna, 1952
Painted in Vienna, Obere Donaustrasse 12, June - August, 1952
in the company of his mother and Maria
in the company of his mother and Maria
800 mm x 2750 mm
Oil on wood fibreboard, primed with chalk, zinc white and fish glue, with photo affixed to it and lilac watercolour in several parts
- Art-Club, Vienna, 1953
- Studio Paul Facchetti, Paris, 1954
- Travelling exhibition 1968/69:
- University Art Museum Berkeley, 1968
- Santa Barbara Museum of Art, 1968/69
- The Museum of Fine Arts, Houston, 1969
- The Arts Club of Chicago, 1969
- The Galerie St. Etienne, New York, 1969
- The Phillips Collection, Washington DC, 1969
- Salon d'Outre Mer, Paris, 1954
- Stedelijk Museum, Amsterdam, 1956
- Salon d'Outre Mer, Paris, 1956
- Kunstmuseum St. Gallen, 1957
- World Fair, Seattle, 1962
- Documenta III, Kassel, 1964
- International Art Fair, Basel, 1970
- Museum of Contemporary Art, Andros, 1998
- Hundertwasser, Regentag - Rainy Day - Jour de pluie, Munich, 1972, pp. 32/33 (c, photomontage), 84
- W. Schmied, Hundertwasser, Salzburg, 1974, pl. 1 (c), p. 309
- P. Restany, Hundertwasser, New York, 1978, pp. 52/53 (c)
- Das Hundertwasser Haus, Vienna 1985, pp. 18/19 (c, detail, mirrored)
- R. Koyanagi (ed.), Mujinkan 1 - Hundertwasser, Tokyo, 1988, pp. 20/21 (c, detail), 70
- Contemporary Great Masters: Hundertwasser, Tokyo, 1993, pl. 6 (c), p. 113
- Hundertwasser Architektur, Cologne, 1996, pp. 18/19 (c, detail, mirrored)
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 92/93 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 224/225 (and c)
- Hundertwasser - Wenn einer alleine träumt..., Munich, 2003, cover (c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 14 (c)
- Art Souvenir - Hundertwasser, In the Colour of His Brush, London, 2016, pp. 28/29 (c), 90
- Leaflet: Art Club, Vienna, 1953, cat. 1 (b, detail, photomontage)
- Kestner-Gesellschaft, Hanover, 1964, p. 113
- University Art Museum, Berkeley, 1968, p. 51 (c), cat. 14
- Glancing at the Century, Museum of Contemporary Art, Andros, 1998, cover/back cover (detail), pp. 138/139 (c)
- Leaflet, B. & E. Goulandris Foundation, Andros, 1998 (detail)
- HW-Die Kunst des grünen Weges, KunstHausWien, Vienna, 2011, pp. 39 (c), 213
- T. Kaiko, Broken Cocoon, Japan, 1986, slipcase (detail, c) and front and back end-papers (b)
- Hundertwasser Bibel, Augsburg, 1995, AT, pp. 436, 437 (adaptation, detail, c)
- A. Reinders (ed.), Neuer Himmel, neue Erde, neuer Mensch, Aachen, 2001, back cover (detail, c); accompanying Lent calendar (detail, c)
- Information leaflet: Compagnie Fêtes Galantes, Alfortville, 2002 (c)
- Jo-Jo Lesebuch 4, Berlin, 2003, pp. 3 (detail, c), 23 (c)
- M. Duderstadt / C. Forytta, Tipi Lesebuch 2, Berlin, 2003, p. 11 (c)
- Jo-Jo Lesebuch 4, Handreichungen für den Unterricht, Berlin, 2009
- Bijutsu Techo, no. 10, Tokyo, 1954, p. 12 (b)
- Neue Generation, no. 3, May 1957, Vienna, p. 20 (detail, b)
- Mizue, no. 674, June 1961, Tokyo, cover (detail, c)
- Time Magazine, Atlantic edition, March 29, 1968, p. 41 (c)
- Westermanns Monatshefte,. no. 9, Sep. 1974, Braunschweig, p. 4 (detail, c) pp. 27/28 (c)
- Art International, Vol. XIX/3, March 20, 1975, Lugano, p. 19 (detail, c)
- Postcard, Vienna, 1952 (b)
- Postcard, Vienna, 1953 (b)
- Head Scarf, Heberlein and Cicero, Stuttgart, 1974 (77,5 x 78,5)
- Hundertwasser Art Calendar 1984, printed by Wörner (April)
- Telephone card: KunstHausWien, publ. by the Austrian Post Services, Vienna, 1994 (detail on the reverse)
- Hundertwasser Mini Adressbuch, Borer & Wörner Verlag, Zug, 1994 (box and cover, details)
- Clock-face of the wristlet watch no. 6, Genesis-Edition, Vienna, 1995 (detail)
- Exhibition Poster, B. & E. Goulandris Foundation, Andros, 1998 (detail)
- Postcard, B. & E. Goulandris Foundation, Andros, 1998 (detail)
- Poster, published by Museums Betriebs Ges.mbH, Vienna, 1999 (138 x 60 cm)
- Greeting card set, Missio, Aachen, 2001 (c, detail according to APA 16)
- Calendar: Hundertwasser 2004, Borer & Wörner, Zug
- Calendar: 2004 Hundertwasser Jahresplaner, Borer & Wörner, Zug
Hundertwasser's comment on the work
This is an arithmetical row of heads in windows. A kind of vanishing-point perspective in which humanoid beings grow smaller and vanish. But here, too, the right to a second and third skin is realised, the right to individual clothing and the window right. The window frames have different colours. There are also people with three eyes. the bodies don't exist, the beings consist of heads. The walls don't exist. The house consists of windows. The first picture of this kind, in which I show a concentration of windows with people in them. The impish character is typical of the loss of individuality and mechanisation and computerisation of the masses of humanity in residential buildings.
The arithmetical row, one next to the other, brings a new perspective to architecture which does not confrom with the customary rules of perspective.
(from: Hundertwasser Architecture, Cologne, 1997, pp. 18-19)
Definitely a social-critical, urbanist-problematical, socially charged work without my realising it. The heads that look like aliens I have from Brô. It is an arithmetic sequence of heads - 1, 2, 3, 4 etc. - one above the other, until the heads in the right quarter, 80, got so close together - 17 atop one another, but there were supposed to be 21! - and I didn't want to go on and painted the rest of the space red.
Facchetti kept telling me I had to keep out of sight to attract attention and be successful. My answer was that first people did have to know that I existed! At any rate, Facchetti, who had all my pictures, put that into practise this way: a collector told me that if he wanted to see my pictures he was told to come back tomorrow, then next week, next month, then in half a year! "Ne vous inquietez pas . . . revenez demain, la semaine prochaine, dans un mois . . ." But as the collector would not leave off even after months of this, Facchetti left the room and showed the collector a corner (maybe an eighth) of the 99 Heads on his way out, saying "C'est tout ce que je peux vous montrer pour aujourd'hui" (That's all I can show you today). (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 224)