170
LE JARDIN DES MORTS HEUREUX
DER GARTEN DER GLÜCKLICHEN TOTEN
THE GARDEN OF THE HAPPY DEAD
IL GIARDINO DEI MORTI FELICI

St. Maurice/Seine, 1953
In Brô's house Sureaux, St. Maurice/Seine, August, 1953 in the company of Martha
470 mm x 585 mm
Oil on wood fibreboard, primed with chalk, zinc white and fish glue, surrounded by a "baguette électrique"
  • Studio Paul Facchetti, Paris, 1954
  • *
  • Travelling exhibition 1964/65:
  • Kestner-Gesellschaft, Hanover, 1964
  • Kunsthalle Bern, 1964
  • Karl-Ernst-Osthaus-Museum, Hagen, 1964
  • Stedelijk Museum, Amsterdam, 1964
  • Moderna Museet, Stockholm, 1964/65
  • 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:
  • Musée d'Art Moderne de la Ville de Paris, 1975
  • Musée de l'Etat, Luxembourg, 1975
  • Musée Cantini, Marseille, 1975
  • *
  • Artcurial, Paris, 1982
  • Institut Mathildenhöhe, Darmstadt, 1998
  • Galerie Patrice Trigano, Paris, 1999
  • KunstHausWien, Vienna, 2011
  • Kunsthalle Bremen, 2012/13
  • Österreichische Galerie Belvedere, Orangerie, Vienna, 2013
  • Cobra Museum, Amstelveen, 2013/14
  • Sejong Museum of Art, Seoul, 2016/17
  • 27th Venice Biennial, 1954
  • Stedelijk Museum, Amsterdam, 1956
  • Kunstmuseum St. Gallen, 1957
  • Schirn Kunsthalle, Frankfurt, 2015
  • Nationalgalerie, Prag, 2015
  • W. Hofmann, Hundertwasser, Salzburg, 1965, pl. 10 (c)
  • Hundertwasser, Regentag - Rainy Day - Jour de pluie, Munich, 1972, pp. 50 (c, photomontage), 85
  • W. Schmied, Hundertwasser, Salzburg, 1974, pl. 34 (c), p. 312
  • P. Restany, Hundertwasser, New York, 1978, p. 59 (c)
  • J.F. Mathey, Hundertwasser, Munich, 1985 and ed. 1992, cover (c)
  • Das Hundertwasser Haus, Vienna, 1985, p. 25 (c)
  • H. Rand, Hundertwasser - Der Maler, Munich, 1986, pl. 38 (c), p. 165
  • R. Koyanagi (ed.), Mujinkan 1 - Hundertwasser, Tokyo, 1988, pp. 27 (c), p. 70
  • H. Rand, Hundertwasser, Cologne, 1991, p. 59 (c) and ed. 1993, p. 49 (c)
  • Hundertwasser Archtiektur, Cologne, 1996, p. 17 (c)
  • P. Restany, Die Macht der Kunst, Hundertwasser - Der Maler-König mit den fünf Häuten, Cologne, 1998 and ed. 2018, p. 9 (c)
  • W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 73/74 (and c), 173
  • A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 251-253 (and c)
  • B. Stieff, Hundertwasser für Kinder, Munich, 2007, p. 25 (c)
  • F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 16 (c)
  • Briefmarkenbuch, Vienna, 2008, (c)
  • XXVII. Biennale di Venezia, n. p., 1954, cat. 21 (b)
  • Kestner-Gesellschaft, Hanover, 1964, p. 121
  • Moderna Museet, Stockholm, 1964, cat. 23
  • Museum des 20. Jahrhunderts, Vienna, 1965, cat. 31
  • University Art Museum, Berkeley, 1968, p. 57 (c), cat. 22
  • Degli Artisti del Veneto, Milan, 1974 (b)
  • Musée d'Art Moderne de la Ville de Paris, 1975, cover (c), p. 269 (c)
  • Musée de l'Etat, Luxembourg, 1975, p. 171 (c)
  • Musée Cantini, Marseille, 1975, cover (c), p. 171 (c)
  • A.S.U. Hall, Cairo, 1975, p. 171 (c)
  • Statens Museum for Kunst, Copenhagen, 1976, p. 269 (c)
  • Musée Dynamique, Dakar, 1976, p. 269 (c)
  • Musée des Beaux-Arts, Montreal, 1978, p. 269 (c)
  • Palais des Beaux-Arts, Brussels, 1978, p. 269 (c)
  • Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979 (cover, c)
  • Artcurial, Paris, 1982, p. 48
  • Institut Mathildenhöhe, Darmstadt, 1998, pp. 44/45 (c)
  • Galerie Patrice Trigano, Paris, 1999, pl. 2 (c)
  • HW-Die Kunst des grünen Weges, KunstHausWien, Vienna, 2011, pp. 21 (c), 213
  • Kirche zu St. Jakobi, Stralsund, 2011, p. 56 (c)
  • Leaflet, Kunsthalle Bremen, 2012/13 (c)
  • Gegen den Strich. Werke 1949-1970, Kunsthalle Bremen, 2012/13, pp. 98 (c), 254
  • Hundertwasser, Japan und die Avantgarde, Österreichische Galerie Belvedere, Orangerie, Vienna, 2013, p. 234 (c)
  • Künstler und Propheten. Eine geheime Geschichte der Moderne 1872 - 1972, Schirn Kunsthalle, Frankfurt, 2015, p. 324 (c)
  • Hundertwasser, The Green City, Sejong Museum of Art, Seoul, 2016, pp. 53 (c), 252
  • F. Kretz-Idas / B. Salinas, Apprends-moi le monde, Paris, n.d., p. 40 (c)
  • H. Molbjerg, Europa ser på dig, Copenhagen, 1992, p. 374 (c)
  • S. Wille, Träume sind große Taten, Vienna, 1993, p. 11 (c)
  • Hundertwasser Bibel, Augsburg, 1995, AT, p. 788 (c)
  • H. Böke / L. Knudsen-Böke / M. Müller, Trauer ist ein langer Weg, Dusseldorf, 2000, cover (c)
  • Kunterbunt, Bern, 2001, ed. 2004, 2006, 2009 and 2011, p. 64 (c)
  • B. Stone Sunstein / E. Chiseri-Strater, FieldWorking, Boston, 2002, cover (c)
  • F. Villemur/ B. Pietrzak, Paul Facchetti: Le Studio, Arles, 2004, p. 158 (c)
  • M. Adamina / S. Gattiker / R. Grädel et al., Sco l'aura - Uman ed ambient, Cuira, 2008, p. 86 (c)
  • D. Steinwede, Der Tod - Tor zum Leben, Dusseldorf, 2009, p. 11 (c)
  • E. Wieneke, Tastenblitz für Kinder, Cologne, 2012, p. 84 (c)
  • P. Straub, Hors-d'?uvre d'art, Schiltigheim, 2012, p. 132 (c)
  • P. Straub, Hors-d'oeuvre d'arts répertoire 3 à 8 ans, Schiltigheim, 2013, pl. 39 (c)
  • E. Wieneke, Tastenblitz und Word-Praxis, Cologne, 2014, p. 61 (c)
  • V. Gamper / H.-P. Wipplinger (ed.), Egon Schiele, Expression und Lyrik, Vienna, 2018, p. 124 (c)
  • Kunst ins Volk, no. 7, Vienna, 1954 (b)
  • Bijutsu Techo, no. 10, Tokyo 1954 (b)
  • L'Oeil, Feb. 1961, Paris, p. 51 (b)
  • The Courier, June 1976, Unesco, Paris (English, French, Spanisch ed.), cover (c), p. 3 (b)
  • L'atelier des Images, no. 3, November 1996, Paris, p. 4 (b), poster (c)
  • Esotera, no. 4, April 1997, Fribourg, p. 51 (c)
  • P.M. History, no. 10, October 2010, Munich, p. 97 (c)
  • Bonjour, Un Noel Plein de Couleurs, no. 7, December 2013, 4 (c)
  • Postcard, Verlag Galerie Welz, Salzburg, 1968 (repr.)
  • Silk scarf, reproduction in 10 colours, screenprint by Texoprint B. V., Boekelo/Holland, 1975 (detail)
  • Calendar 1976, Verlag Galerie Welz, Salzburg (July, 23,7 x 24,9cm)
  • Shawl, design of Van der Elst, Netherlands, December, 1976
  • Beer-coaster, Vienna, 1976 (detail, discontinued)
  • Calendar 1977, Verlag Galerie Welz, Salzburg (November, 23,7 x 29,8 cm)
  • Coloured collotype print, Galerie Thomas, Munich, 1979 (65 x 90 / 55.3 x 69.3 cm)
  • Hundertwasser Art Calendar 1981, Verlag Galerie Welz, Salzburg (November)
  • Hundertwasser Art Calendar 1982, Edition Buchheim, Feldafing (April)
  • Hundertwasser Art Calendar 1991, Wörner, Rutesheim (March)
  • Hundertwasser Art Calendar 1991, Wörner, Rutesheim (March, small)
  • Hundertwasser Art Memo, caesar International Art, Stuttgart
  • Art Calendar: Parallels '94, Leica AG, St. Gallen (February, 55 x 44 cm/29 x 36 cm)
  • Hundertwasser Agenda 1995, Borer & Wörner, Zug
  • Hundertwasser Pocket Art and Pocket Art 95, Borer & Wörner, Zug
  • Hundertwasser Agenda 1996, Borer & Wörner, Zug
  • Hundertwasser Diary 1997 and Hundertwasser Directory, Borer & Wörner, Zug 1996
  • Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
  • Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)

Hundertwasser's comment on the work

"Here an ecological burial method is already anticipated. In it, the dead are buried in harmony with nature and creation, integrated into an ecological whole, returned to a higher order. In this way there would be no more cemeteries, but just a respected, sanctified nature which goes on reproducing, with trees growing out of people, where there are no dead, only life. This I called the "Garden of the Happy Dead". The spiral is a symbol of the cycle of death and rebirth, of eternal life.(from: Hundertwasser Architecture, Cologne, 1997, p. 17)The painting and its name tell the whole story. The garden of paradise with a fence, the gate, the life-and-death spiral. It is an anticipation of the ecological form of burial: a tree planted on the grave so that it can continue life. In this way one has not died, but lives on in the tree: in one's own physical self one gives nature back something of what we have taken away from her. Hence the good conscience and the happy dead. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 252)"