211
MAROKKANISCHE JÜDIN
MOROCCAN JEWESS
JUIVE MAROCCAINE
Vienna, 1954
Painted in Marrakesh, done as drawn portrait, 1951 - finished in Vienna at the University Clinic, December 1954
500 mm x 400 mm
Pencil and watercolour on wrapping paper, primed with chalk, zinc white and fish glue.
Private collection, Vienna
- Galerie Raymond Cordier, Paris, 1960
- *
- Travelling exhibition 1964/65:
- Kestner-Gesellschaft, Hanover, 1964
- Kunsthalle Bern, 1964
- Karl-Ernst-Osthaus-Museum, Hagen, 1964
- Stedelijk Museum, Amsterdam, 1964
- Moderna Museet, Stockholm, 1965
- Museum des 20. Jahrhunderts, Vienna, 1965
- *
- 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
- *
- Aberbach Fine Art, New York, 1973
- *
- World Travelling Museum Exhibition:
- Muzeum Narodowe, Warsaw, 1976
- National Gallery of Iceland, Reykjavik, 1976
- Statens Museum for Kunst, Copenhagen, 1976
- Musée Dynamique, Dakar, 1976
- Seibu Museum of Modern Art, Tokyo, 1977
- Hong Kong Museum of Art, 1977
- South African National Gallery, Cape Town, 1977
- Pretoria Art Museum, 1977
- Museu de Arte Moderna, Rio de Janeiro, 1977
- Museu de Arte, São Paulo, 1977
- Museo de Bellas Artes, Caracas, 1977
- Museo de Arte Moderno, Mexico City, 1978
- Musée des Beaux-Arts, Montreal, 1978
- Royal Ontario Museum, Toronto, 1978
- Palais des Beaux-Arts, Brussels, 1978
- Mücsarnok, Budapest, 1978
- Museo Español de Arte Contemporáneo, Madrid, 1979
- Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979
- Palazzo Barberini, Rome, 1980
- Palazzo Reale, Milan, 1980
- Museum Ludwig, Cologne, 1980/81
- Secession, Vienna, 1981
- Kulturhaus, Graz, 1981
- Neue Berliner Galerie, East Berlin, 1981
- Helsingin kaupungin taidemuseo, Helsinki 1981
- *
- KunstHausWien, Vienna, September, 2012 - October, 2015
- Sejong Museum of Art, Seoul, 2016/17
- Kunstmuseum am Inselbahnhof, Lindau, 2019
- Jüdisches Museum, Vienna, 2006/07
- Y. Shirakura (ed.), Shinchosha's Super Artists: Hundertwasser, Japan, 1991, pl. 10 (c), p. 78
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 283/284 (and c)
- Art Souvenir - Hundertwasser, In the Colour of His Brush, London, 2016, pp. 51 (c), 91
- Leaflet: Art-Club, Vienna, 1952, cat. 28
- Leaflet: Galerie Raymond Cordier, Paris, 1960 (c)
- Kestner-Gesellschaft, Hanover, 1964, p. 132
- Moderna Museet, Stockholm, 1964, cat. 39
- Museum des 20. Jahrhunderts, Vienna, 1965, cat. 49
- University Art Museum, Berkeley, 1968, p. 64 (c), cat. 30
- Aberbach Fine Art, New York, 1973, p. 13 (c)
- The Tel Aviv Museum, 1976, p. 161 (c)
- Supplementary edition no. 2, Copenhagen, 1976, p. 17
- Seibu Museum of Modern Art, Tokyo, 1977, p. 161 (c)
- South African National Gallery, Cape Town / Pretoria Art Museum, 1977, p. 161 (c)
- Museu de Arte Moderna, Rio de Janeiro / Museu de Arte, São Paulo / Palácio Itamaraty, Brasilia, 1977, p. 161 (c)
- Museo de Bellas Artes, Caracas, 1977, p. 161 (c)
- Supplementary edition Caracas, 1977, cat. Grabados 61
- Museo de Arte Moderno, Mexico City, 1978, p. 161 (c)
- Royal Ontario Museum, Toronto, 1978, p. 161 (c)
- Palazzo Barberini, Rome, 1980, p. 161 (c)
- Sonja Henies og Niels Onstads Stiftelser Kunstsentret, Høvikodden, 1980, p. 161 (c)
- Neue Berliner Galerie, East Berlin, 1981, p. 28
- Helsingin kaupungin taidemuseo, Helsinki, 1981, p. 161 (c)
- Barbican Art Gallery, London, 1983, p. 161 (c)
- Leaflet, Jüdisches Museum, Vienna, 2006/07 (c)
- Jüdisches Museum, Vienna, 2006, p. 121 (c)
- Hundertwasser, The Green City, Sejong Museum of Art, Seoul, 2016, pp. 56 (c), 252
- Hundertwasser - Traumfänger einer schöneren Welt, Kunstmuseum am Inselbahnhof, Lindau, 2019, pp. 34-35 (and c)
- Hundertwasser Bibel, Augsburg, 1995, AT, p. 309 (adaptation, c)
- Studio International, Nov. 1965, p. 216 (b)
- Seedamm-Kulturzentrum Bulletin, no. 6, summer/autumn 1979, Pfäffikon/Lake Zurich, p. 7 (c)
- Postcard, Edizioni de Cavallino, Venice, 1968 (together with 178, 241, 426, repr.)
- Postcard, Gruener Janura AG, Glarus, 1974
- Art Calendar 1985, Druckerei Wörner, Gerlingen (February)
- Art Calendar 1992, B. Wörner, Rutesheim (56 x 49 cm, October)
- Hundertwasser Agenda 1996, Borer & Wörner, Zug
Hundertwasser's comment on the work
I couldn't help filling out all surfaces with stripes. The lines must be taken all the way through and must not stop. At "bottlenecks" the stripes got narrower. This is of course an additional, seemingly useless busy-ness, a kind of self-imposed ascetic exercise, "making things difficult for oneself", but just painting on a surface seems dishonest to me even today. A surface is like a living being. It consists of lines, ribbons and stripes, which often lie very delicately next to each other. It is a way of painting which corresponds to the way sediment layers are formed. Often the subject is unimportant, only the sediment layers have to be right. I called this procedure fluidoid and spiraloid exercises. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 284)