Design of 24 different book covers
Limited edition of 1,800, consisting of 24 volumes
Each encyclopedia numbered and signed by hand
Hundertwasser designed the pattern for the production of the linen for the book covers, as well as the network of lines applied on the encyclopedia's 24 volumes.
When placing the various volumes next to each other, opened, back-to-back or one above the other, an image always results (?) In weaving the linen for the covers, only natural materials should be used. After a few trials, threads from a special mixture of cotton and linen proved to be best suited to implementing Hundertwasser's intentions as to structure and colour. Their natural variation in thickness of the linen gives the cover vitality; the black weft thread and the coloured warp threads cause constantly changing colour combinations. (?) A special flock coating with velour gave the lines (on the covers, editor's note) an embossed effect, like a relief. They connect at the edges of the covers, so that the overall design can be made out. The stamping of the aluminium-based metallic foil was likewise a very complex process: as there were neither tools, stamps nor patterns which measured up to Hundertwasser's highly expressive design intentions, they had to be specially cast in brass. Only then could the actual production of the inlays begin. All in all, over 50 steps were needed to complete the cover of one volume.
In addition to the design of the cover boards, Hundertwasser designed the title panels on the spines and the image arrangement of the complete set. (?) One letter of the name Brockhaus was highlighted in the sequence of the volumes, so that from a distance the individual letters form the whole name once again.
(translated from the brochure: Kunstwerk, Die Hundertwasser-Ausgabe der Brockhaus-Enzyklopädie, n. p. 1989)
Volume 1-10 published in 1989, followed by 3 volumes every year thereafter
Produced and printed in Germany
- Kulturzentrum am Münster, Konstanz, 2003
- Minoritenkloster, Tulln, 2004
- Ostholstein-Museum, Eutin, 2007
- Szépmüvészeti Museum, Budapest, 2007/08
- Christuskirche, Mainz, 2008
- Wasserschloss Bad Rappenau, 2008
- Kirche zu St.Jakobi,Stralsund,April/May-Oct. 2009-11 (repetitive)
- Alcazar Bibliothèque, Marseille, 2012
- KunstHausAbensberg, since 2014
- P. Restany, Die Macht der Kunst, Hundertwasser - Der Maler-König mit den fünf Häuten, Cologne, 1998, p. 89 (c) and ed. 2018, p. 91 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 1068-1070 (and c)
- Minoritenkloster, Tulln, 2004, p. 103 (c)
- A Magical Eccentric, Szépmüvészeti Múzeum, Budapest, 2007, pp. 125 (c), 180
- Minoritenkloster, Tulln, 2004, p. 103 (c)
- A Magical Eccentric, Szépmüvészeti Múzeum, Budapest, 2007, pp. 125 (c), 180
- Minoritenkloster, Tulln, 2004, p. 103 (c)
- A Magical Eccentric, Szépmüvészeti Múzeum, Budapest, 2007, pp. 125 (c), 180
- Minoritenkloster, Tulln, 2004, p. 103 (c)
- A Magical Eccentric, Szépmüvészeti Múzeum, Budapest, 2007, pp. 125 (c), 180
Hundertwasser's comment on the work
It took a long time and was not easy to design a maze of connecting lines which made up a unified whole for each volume and for all of them when placed side by side. Add to that the design of the fabric and the embossing. The technical consultations and trial runs lasted many months, even years. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 1070)