833
THE ROAD TO SOCIALISM
DIE STRASSE ZUM SOZIALISMUS - DIE TYRANNEI DER ARCHITEKTUR
LA ROUTE VERS LE SOCIALISME
New Zealand, 1982
Painted in Kaurinui, April - June 1982 - Vienna, July 1982
970 mm x 1290 mm
Mixed media: watercolour, egg tempera, PV, oil, lacquer, gold and silver leaf on paper, glued on canvas with PV-cellulose glue, primed with chalk, zinc white and PV; chassis made in N.Z. of kauri wood, partly by Hundertwasser
- Artcurial, Paris, 1982
- Artcurial, Munich, 1983
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- World Travelling Museum Exhibition:
- City Art Centre, Edinburgh, 1983
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- Galerie Haas, Vaduz, 1984
- Das Hundertwasser Haus, Vienna, 1985, p. 37 (c)
- Hundertwasser Architektur, Cologne, 1996, pp. 34/35 (c) and ed. 2006, pp. 26/27 (c)
- P. Restany, Die Macht der Kunst, Hundertwasser - Der Maler-König mit den fünf Häuten, Cologne, 1998, p. 61 (c) and ed. 2018, p. 57 (c)
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 199 (c), 206
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 634/635 (and c)
- Hundertwasser - Gebt den Menschen die Häuser zurück, Munich, 2003, p. 25 (c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, pp. 84/85 (c)
- Artcurial, Paris, 1982, p. 24 (c), p. 49
- Barbican Art Gallery, London, 1983, cover (detail, c)
- Citicorp Bank, Investment Counceling and Trust Administration (c)
- W. Koschatzky, Kunstverke sind weit mehr als nur Zeugen der Zeit, Sonderdruck aus "Herbert Batliner, Festgabe zum 60. Geburtstag", 1988, p. 296 (c)
- P. Gallico, Love of Seven Dolls, Tel Aviv, 1995, cover (c)
- R. & H. Batliner Art Foundation (ed.), Verborgene Meisterwerke, Vienna, 2005, p. 388 (c)
- R. & H. Batliner Art Foundation (ed.), Secret Masterpieces, London, 2006, p. 388 (c)
- K. A. Schröder (ed.), ALBERTINA Sammlung Batliner, Vienna, 2017, Vol. III, p. 51 (c)
- L'Oeil, no. 327, Oct. 1982, Lausanne, p. 40 (c)
- Extrait de Cimaise, no. 161, Paris, 1982 (c)
- Stern, no. 11, March 8, 1984, Hamburg, pp. 42/43 (c)
- Art, no. 11, Nov. 1983, Hamburg, p. 33 (c)
- Meridiani Vienna, no. 94, Dec. 2000, Rozzano, pp. 5 (detail, c), 129 (detail, c)
- Pm - pedagogiska magasinet, no. 1, February 2008, Stockholm, p. 31 (detail, c)
- Knowledge-Based Systems, no. 81, June 2015, p. 11 (c)
- Record Cover: Künstler für den Frieden, Vienna, 1982
- Calendar 1984, Verlag Galerie Welz, Salzburg
- Art Calendar 1984, B. Wörner, Gerlingen
- Art Calendar 1987 (June, small)
- Art Calendar 1988: Walter Koschatzky - Meisterwerke, Art & Editions Haas, Lustenau (58 x 42,5 cm/28,5 x 37,7)
- Hundertwasser artclou 1989, caesar International Art, Stuttgart
- Hundertwasser Art Jahrbuch 1992, caesar International Art, Stuttgart
- Hundertwasser Art Memo, caesar International Art, Stuttgart
- Hundertwasser Agenda, B. Wörner, Rutesheim, 1993
- Hundertwasser Adressbuch, B. Wörner, Rutesheim, 1993
- Hundertwasser Pocket Art and Pocket Art 94, B. Wörner, Rutesheim, 1993
- Hundertwasser Art Calendar 1995, Bohrer & Wörner, Zug (26 x 23 cm, February)
- Hundertwasser Agenda 1995, Bohrer & Wörner, Zug
- Hundertwasser Agenda 1996, Borer & Wörner, Zug
- Hundertwasser Diary 1997 and Hundertwasser Directory, Borer & Wörner, Zug, 1996
- Hundertwasser Diary 1998, Borer & Wörner, Zug
- Postcard, Gruener Janura AG, Glarus, 2001
- Hundertwasser 2004 Calendar, Taschen, Cologne
- 2004 Hundertwasser Diary Jahrbuch, Borer & Wörner, Zug
- Leaflet, ESC Congress, 2007, Vienna (detail, c)
- Hundertwasser Jahrbuch 2007, Borer & Wörner, Zug
- Hundertwasser Agenda, Wörner, Rutesheim, 2008
- Calendar, Hundertwasser 2008, Borer & Wörner, Zug
- Hundertwasser Diary 2009, Wörner, Rutesheim
- Hundertwasser Diary 2010, Wörner, Rutesheim
- Hundertwasser Diary 2011, Wörner, Rutesheim
- Hundertwasser Diary 2014, Wörner, Rutesheim
Hundertwasser's comment on the work
Here the personification of architecture is depicted, with man himself as architecture. You can't tell if this headless figure embodies positive or negative architecture. In any case, man and architecture are one. But here I wanted to depict a dictatorial architecture which smothers man. As my way of painting is positive, the negative message did not come across well. But at least drops of blood are falling from the red windows onto the red road.
(from: Hundertwasser Architecture, Cologne, 1997, p. 34)
Actually this was supposed to be a picture against the sameness of the heartless dictatorship of architecture, which is oppressing individual man, but the headless window architecture turned out too beautifully, since I can't paint ugly things. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 635)