560
FENETRE INTROVERTIE
INTROVERTIERTES FENSTER
Introverted Window
La Picaudière, 1963
La Picaudière, May 1963
540 mm x 730 mm
Mixed media: egg tempera and oil on paper, primed with chalk and PV; mounted on jute with PV
- 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
- *
- Haus der Kunst, Munich, 1975
- *
- World Travelling Museum Exhibition:
- Musée d'Art Moderne de la Ville de Paris, 1975
- Musée de l'Etat, Luxembourg, 1975
- Musée Cantini, Marseille, 1975
- *
- Travelling Exhibition 2005/06:
- Deutsches Architektur Museum, 2005/06
- Schloss Gottorf, 2006
- Kunstforum Schwäbisch Hall, 2006
- Kunstsammlungen Zwickau, 2006
- Junior Galerie, Goslar, 1976
- Junior Galerie, Hamburg, 1976
- Junior Galerie, Dusseldorf, 1976
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 102 (c), 104
- Hundertwasser - Was braucht der Mensch um glücklich zu sein?, Munich, 2002, p. 21 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 461/462 (and c)
- Kestner-Gesellschaft, Hanover, 1964, pp. 107 (c), 207
- Moderna Museet, Stockholm, 1964, cat. 109
- Museum des 20. Jahrhunderts, Vienna, 1965, cat. 121, p. 57 (c)
- Haus der Kunst, Munich, 1975, p. 209 (c)
- Musée d'Art Moderne de la Ville de Paris, 1975, p. 345 (c)
- Musée de l'Etat, Luxembourg, 1975, p. 247 (c)
- Musée Cantini, Marseille, 1975, p. 247 (c)
- A.S.U. Hall, Cairo, 1975, p. 247 (c)
- Muzeum Narodowe, Warsaw, 1976, p. 209 (c)
- Statens Museum for Kunst, Copenhagen, 1976, p. 345 (c)
- Musée Dynamique, Dakar, 1976, p. 345 (c)
- Musée des Beaux-Arts, Montreal, 1978, p. 345 (c)
- Palais des Beaux-Arts, Brussels, 1978, p. 345 (c)
- Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979, p. 209 (c)
- Museum Ludwig, Cologne, 1980, p. 237 (c)
- Secession, Vienna, 1981, p. 237 (c)
- Kulturhaus, Graz, 1981, p. 237 (c)
- Neue Berliner Galerie, East Berlin, 1981 (c)
- Musée des Beaux-Arts et de la Dentelle, Alençon, 2001, p. 43
- Travelling exhibition DAM, 2005/06, p. 64 (c)
- Les Peintres Célèbres, Paris, 1964 (c)
- Der Kunstkreis Hameln, Hameln, 1978 (c)
- S. Wille, Träume sind große Taten, Herder, Vienna, 1993, p. 31 (c)
- W. Schmied (ed.), Geschichte der bildenden Kunst in Österreich - 20. Jh., Munich, 2002, p. 96 (c)
- Dagens Nyheter, Dec. 20, 1964, Stockholm (c)
- Allgemeine Hannoversche Zeitung, April 17, 1964 (c)
- XXe Siècle, no. 45, 1975, Paris, p. 39 (b)
- Postcard, Gruener Janura AG, Glarus, 1974 (printed by Anger & Göschl, Vienna)
- Invitation card, Musée Cantini, Marseille, 1975
- Cicero Art Agenda 1979,
- Art-Agenda, Hundertwasser 1980, Cicero
- Art-Calendar, Hundertwasser 1982, B. Wörner, Gerlingen (December, small)
- Hundertwasser Art Agenda 1987, Caesar Art International, Stuttgart
- Hundertwasser Art Agenda 1988, Caesar Art International, Stuttgart
- Hundertwasser artclou '89, caesar International Art, Stuttgart
- Hundertwasser artclou 1991, caesar International Art, Stuttgart
- Hundertwasser Art Jahrbuch 1992, caesar International Art, Stuttgart
- Hundertwasser Mini Adressbuch, Borer & Wörner Verlag, Zug, 1994
- Hundertwasser Pocket Art and Pocket Art 95, Borer & Wörner, Zug
- Hundertwasser 2004 Calendar, Taschen, Cologne
- Hundertwasser span-a-year Art Calendar 2013, Wörner, Rutesheim
- Hundertwasser Vertical Wall Calendar Art 2013, Wörner, Rutesheim
Hundertwasser's comment on the work
I remember exactly Carl Flinker saying about these pictures that I would not amount to anything more, that my time was over. And at that, by simply switching two colours around in the same concentric structure, I had succeeded in painting two pictures with completely different contrasting effects. Of course Vasarely has done a lot in this way, but it isn't organic. Later, colour combinations of the same pictures cast their spell on me in print graphics, e.g., the 10,002 variations of 860 Homo Humus come va. If the colours and structures are right, all the variations are right - if painted in an organic-substantial way. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 461-462)