167
LA CITE
DIE STADT
THE CITY
St. Maurice/Seine, 1953
St. Maurice/Seine, Impasse des Sureaux, René Brô's garden house, August, 1953
740 mm x 1760 mm
Mixed media: oil and casein on wood fibreboard, primed with chalk, zinc white and fish glue, surrounded by a "baguette électrique"
Österreichische Galerie, Belvedere, Vienna
- Studio Paul Facchetti, Paris, 1954
- Galerie St. Stephan, Vienna, 1957
- 31st Venice Biennial, 1962
- *
- 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
- *
- 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
- *
- World Travelling Museum Exhibition:
- Secession, Vienna, 1981
- *
- Travelling Exhibition 2005/06:
- Deutsches Architektur Museum, 2005/06
- Schloss Gottorf, 2006
- Kunstforum Schwäbisch Hall, 2006
- Kunstsammlungen Zwickau, 2006
- *
- Kunsthalle Bremen, 2012/13
- Österreichische Galerie Belvedere, Orangerie, Vienna, 2013
- Cobra Museum, Amstelveen, 2013/14
- Osthaus Museum, Hagen, 2015
- Stedelijk Museum, Amsterdam, 1956
- Kunstmuseum St. Gallen, 1957
- Staatliches Kunstmuseum, Baden-Baden, 1959
- Trigon, Graz, 1963
- Künstlerhaus, Vienna, 1965
- Österr. Museum für angewandte Kunst, Vienna, 1979
- H. Rand, Hundertwasser - Der Maler, Munich, 1986, pl. 36 (c), p. 165
- R. Koyanagi (ed.), Mujinkan 1 - Hundertwasser, Tokyo, 1988, pp. 46 (c), p. 70
- H. Rand, Hundertwasser, Cologne, 1991, pp. 44/45 (c) and ed. 1993, pp. 36/37 (c)
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 22/23 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 248/249 (and c)
- Leaflet: Galerie St. Stephan, Vienna, 1957, cat. 42
- XXXI. Biennale di Venezia, Austria, 1962, cat. 8
- Trigon, Graz, 1963, no. 137 (b)
- Kestner-Gesellschaft, Hano.ver, 1964, pp. 18 (c), 121
- Moderna Museet, Stockholm, 1964, cat. 21
- Museum des 20. Jahrhunderts, Vienna, 1965, cat. 29
- Wiener Malerei seit 1945, Graphik aus Wien, Vienna, 1965, cat. 81
- University Art Museum, Berkeley, 1968, p. 54 (c), cat. 20
- Die unbekannte Sammlung - Der Staat als Kunstkäufer, Österreichisches Museum für angewandte Kunst, Vienna, 1979, cat. 394, p. 13
- Travelling exhibition DAM, 2005/06, p. 44-45 (c)
- HW-Die Kunst des grünen Weges, KunstHausWien, Vienna, 2011, pp. 61 (c), 213
- Gegen den Strich. Werke 1949-1970, Kunsthalle Bremen, 2012/13, pp. 106/107 (c), 254
- Hundertwasser, Japan und die Avantgarde, Österreichische Galerie Belvedere, Orangerie, Vienna, 2013, pp. 128/129 (c)
- Hundertwasser Lebenslinien, Osthaus Museum, Hagen, 2015, pp. 16-17 (c)
- G. Schmidt, Neue Malerei in Österreich, Vienna, 1956, p. 121 (c)
- S. Wille, Träume sind große Taten, Vienna, 1993, p. 65 (c)
- Arti Visive, no. 8-9, May 1954, Rome (b)
- Fremdenverkehrszeitung, Vienna, 1961 (c)
- Pictures and Prints, London, 1970, p. 6 (c)
- Der Kunsthandel, Jan. 1971, p. 3 (c)
- Falter, no. 11/13, Vienna, p. 30 (c)
- Postcard, Paris, 1954 (b)
- Postcard, Edizioni del Cavallino, Venice, 1964
- Postcard, Edizioni del Cavallino, Venice, 1968
- Coloured collotypeprint, The Pallas Gallery, London, 1970
- Art Calendar 1987, B. Wörner, Rutesheim (September)
- Postcard, The Pallas Gallery, London, n.d.
- Hundertwasser 2004 Calendar, Taschen, Cologne
Hundertwasser's comment on the work
Monsieur Gaston Dumage, the father of the family who took me in for free (their son Augustin, Bernard and Brô were friends), had a necktie factory and used wood-particle panels for the crates the ties were packed in. Thus, a whole series of pictures were done on necktie-crate covers: 168, 169, 170, 172, 173, 174, 175, 176, 178, 179. I lived in a storeroom, and now and then they invited me to dinner. I had a bicycle and rode almost every day down the Avenue Daumesnil and Rue de Charenton, where there was less traffic, via Bastille to Saint-Germain-des-Prés to Facchetti's and the Café Les Deux Magots, where I only took a seat if someone invited me to have something. The city in the picture is tapered on the right and left like in panorama perspective, and the various shades of grey are intended to be as precious as exquisite colours. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 249)