166
ON THE SUNNY SIDE OF THE STREET
AUF DER SONNENSEITE DER STRASSE
MAISON - INVASIONS

St. Maurice/Seine, 1953
St. Maurice/Seine, Impasse des Sureaux, René Brô's garden house, July 1953
710 mm x 510 mm
Oil on plywood, primed with chalk, zinc white and fish glue, surrounded by a "baguette électrique"
  • Galerie St. Stephan, Vienna, 1957
  • 31st Venice Biennial, 1962
  • *
  • World Travelling Museum Exhibition:
  • Musée d'Art Moderne de la Ville de Paris, 1975
  • *
  • Galerie in der Schule, Vomperbach, 1980
  • Artcurial, Paris, 1982
  • H. Rand, Hundertwasser - Der Maler, Munich, 1986, pl. 35 (c), p. 165
  • H. Rand, Hundertwasser, Cologne, 1991, p. 55 (c) and ed. 1993, p. 47 (c)
  • Contemporary Great Masters: Hundertwasser, Tokyo, 1993, pl. 10 (c), p. 113
  • Hundertwasser Postcardbook: Lost and Stolen Pictures, Cologne, 1995 (c)
  • A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 247/248 (and c)
  • Leaflet: Galerie St. Stephan, Vienna, 1957, cat. 43
  • Leaflet: Galerie Raymond Cordier, Paris, 1960 (c)
  • XXXI. Biennale di Venezia, Austria, 1962, cat. 9
  • Kestner-Gesellschaft, Hanover, 1964, p. 121
  • Musée d'Art Moderne de la Ville de Paris, 1975, p. 265 (c)
  • Musée de l'Etat, Luxembourg, 1975, p. 167 (c)
  • Musée Cantini, Marseille, 1975, p. 167 (c)
  • A.S.U. Hall, Cairo, 1975, p. 167 (c)
  • Statens Museum for Kunst, Copenhagen, 1976, p. 265 (c)
  • Musée Dynamique, Dakar, 1976, p. 265 (c)
  • Musée des Beaux-Arts, Montreal, 1978, p. 265 (c)
  • Palais des Beaux-Arts, Brussels, 1978, p. 265 (c)
  • Artcurial, Paris, 1982, p. 48
  • C. Seerveld, Cultural Problems in Western Society, Sioux Center, 2014, pp.76/78 (and b)
  • Postcard, Edizioni del Cavallino, Venice, 1968 (together with 86, 227, 440)
  • Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
  • Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)

Hundertwasser's comment on the work

"By letting the buyers of this picture pay in instalments I was blackmailed into attending extremely strange Scientology lessons. At the end of the lesson they always said, "Of course you will come to the next session, then we will give you another instalment." After I had made a date to meet a beautiful African girl also attending somewhere else - I was thinking of my painting 130 If I Had a Negress I Would Love and Paint Her of 1951 - the instalment payments for the picture were discontinued altogether. The furious explanation: "This person was not invited and you made an unpardonable faux-pas". The Scientology collectors were apparently racists from the South. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 247)"