101
IN MEZZO AL MARE
SINGENDE DAMPFER II
Singing Steamers II
Rettenegg, 1950
Painted in Rettenegg, August 1950
590 mm x 680 mm
Watercolour, pencil and indelible pencil on wrapping paper, primed with chalk, zinc white and fish glue
- Art-Club, Vienna, 1952
- Galerie St. Stephan, Vienna, 1957
- Travelling exhibition 1964/65:
- Kestner-Gesellschaft, Hanover, 1964
- 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
- *
- Institut Mathildenhöhe, Darmstadt, 1998
- Künstlerhaus, Vienna, 1951
- W. Hofmann, Hundertwasser, Salzburg, 1965, pl. 3 (c)
- W. Schmied, Hundertwasser, Salzburg, 1974, pl. 9 (c), p. 309
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 197/198 (and c)
- Leaflet: Art Club, Vienna, 1952, cat. 24
- Museum des 20. Jahrhunderts, Vienna, 1965, cat. 3
- University Art Museum, Berkeley, 1968, p. 19 (c), cat. 3
- Kestner-Gesellschaft, Hanover, 1964, p. 105
- Institut Mathildenhöhe, Darmstadt, 1998, pp. 22/23 (c)
- HW-Die Kunst des grünen Weges, KunstHausWien, Vienna, 2011, pp. 63 (c), 212
- S. Fuchs-Gerosa / B. Fuchs (ed.), Kinder begegnen Bildern und Skulpturen, Zurich, 2000, suppl. p. 9 (c)
- Connaissance des arts, no. 275, Jan. 1975, Paris, p. 71 (c)
- 3 series of postcards, Vienna, 1951 (c)
- Postcard, Verlag Galerie Welz, Salzburg, 1965 (repr.)
- Hundertwasser Calendar 1980, Verlag Galerie Welz, Salzburg (March, c)
- Hundertwasser Calendar 1985, Verlag Galerie Welz, Salzburg (April, c)
- Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)
Hundertwasser's comment on the work
Schoolchildren were singing "In mezzo al mare" (In the middle of the sea) on the beach of the Adriatic. That made me realize that the steamers sing on the silent ocean, too: with their smoke. All the columns of smoke put together make up a song. I never painted a picture in the hut of a Styrian alpine pasture in such a state of enthusiasm. I was afraid I would ruin it by overpainting and left some parts unfinished. For the first time I used the painting technique of shading the edges.
I think this is the painting Wolfgang Hutter saw at the Christmas exhibition "Good Pictures for Everyone", where it was on sale for 300 schillings, and he nominated me to be a new member of the Art Club, to which I was admitted one year later. It can thus be justifiably said that it was Wolfgang Hutter who was the first to discover me for the world of art. Hutter is only two days younger than I. He, of all people, the ingenious painter, who was extremely modest, was hit by the full force of the later prejudices of the conformist cultural scene. There was not a single painting of his in a museum! (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 198)