264
COUPE D'UN SAC A DOS
SCHNEIDERSCHNITT EINES RUCKSACKS
Tailor's Pattern of a Rucksack
St. Jakob, 1956
Painted at St. Jakob, July 1956
380 mm x 610 mm
Watercolour on wrapping paper, primed with chalk, zinc white and fish glue
- Galerie St. Stephan, Vienna, 1957
- Galerie H. Kamer, Paris, 1958
- Galerija Cankarjev dom, Ljubljana, 1999
- Mittelrhein-Museum, Koblenz, 2001
- Galerie im Alten Rathaus, Prien am Chiemsee, 2002
- Robert Sandelson Gallery, London, 2004
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 314/315 (and c)
- Leaflet: Galerie St. Stephan, Vienna, 1957, cat. 20
- Kestner-Gesellschaft, Hanover, 1964, p. 145
- Galerija Cankarjev dom, Ljubljana, 1999, pp. 15 (c), 38
- Robert Sandelson Gallery, London, 2004, (c)
- Michel Ragon, Naissance d'un art nouveau, Editions Albin Michel, 1963, p. 57 (c)
- Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)
Hundertwasser's comment on the work
I find it difficult to work on clean papers, a pure ground or an industrially prefabricated ground. They are all like a crippling of creativity: the flawless monochromaticity, the precise right-angle demarcation. "Everything slips off smoothness. Even God falls down" (from the manifesto "Loose from Loos", 1968). So first I have to soil the surface somehow, animate it, so that I have something to hold on to, just like a mountain climber can't just climb up a wall which is smooth like a mirror without there being irregularities, outcroppings or at least holes he can bore to make his way up on clamps. The edges should be irregular from the beginning. (see also 182) (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 314-315)