247
LA VALLEE BLEU-VERTE DANGEREUSE AUX AVIONS ULTRASON
DAS GRÜNBLAUE DEN ULTRASCHALLFLUGZEUGEN GEFÄHRLICHE TAL
The Greenish-Blue Valley Which Is Dangerous for Supersonic Aeroplanes
St. Maurice/Seine, 1956
St. Maurice/Seine, Impasse des Sureaux, Brô's house, February, 1956
1570 mm x 1180 mm
Oil extended with chalk on canvas, primed with chalk, zinc white and fish glue
- Stedelijk Museum, Amsterdam, 1956
- Kunstmuseum St. Gallen, 1957
- Staatliches Kunstmuseum, Baden-Baden, 1959
- 5th São Paulo Biennial, 1959
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 307/308 (and b)
- V. Bienal do Museu de Arte Moderna, São Paulo, 1959, cat. 21
- Kestner-Gesellschaft, Hanover, 1964, p. 141
- Extrait de Cimaise no. 161, Paris, 1982 (b)
Hundertwasser's comment on the work
The names (not titles) came about the way they do with people, either before I started or during the painting or afterwards. Often other people gave the picture its name. Finding a name is a gradual process, analogous to creating a picture. It is a unique confluence of poetry and painting. The name of a picture must never express what can be seen in the picture as it is, but should be a continuation of the picture with other means. Moreover, the more complex a picture is, the more associations it permits. These are layers of consciousness that have to be turned like pages in order to look at such a picture, and besides, other people often find better names for the picture than the painter himself. At any rate, in coming up with a name, a similar mechanism is brought to bear as in the intuitive creation of the picture. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 308)