315
REPOS ESCARGOT D'UN PAYSAGE AUTRICHIEN - LA NUIT
SCHNECKENRUHE EINER ÖSTERREICHISCHEN LANDSCHAFT
SNAIL SLEEP OF AN AUSTRIAN LANDSCAPE
St. Mandé/Seine, 1957
Painted in St. Mandé/Seine, August 1957
1010 mm x 1020 mm
Mixed media: egg tempera, oil, gold foil, watercolour, on Japanese preparation (pieces of paper glued together), primed with chalk, zinc white and fish glue; mounted on a wooden frame
Solomon R. Guggenheim Museum, New York
- 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 Fair, Seattle, 1962
- W. Schmied, Hundertwasser, Salzburg 1974, pl. 58 (c), p. 315
- P. Restany, Hundertwasser, New York, 1978, p. 73 (c), p. 128
- R. Koyanagi (ed.), Mujinkan 1 - Hundertwasser, Tokyo, 1988, pp. 28 (c), 70
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, p. 340 (c)
- B. Stieff, Hundertwasser für Kinder, Munich, 2007, p. 23 (c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 22 (c)
- World Fair Seattle, 1962 (b)
- Kestner-Gesellschaft, Hanover, 1964, p. 157
- University Art Museum, Berkeley, 1968, p. 71 (c), cat. 36
- Atelier, March 1960, Tokyo (b)
- Múlt és jövo, 2007/2., Budapest, p. 94 (b)
- Prospectus for the book by Schmied, Verlag Galerie Welz, Salzburg, 1973
- Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
- Reproduction on wall, CROC incorporated, Moscow, 2009 (c, detail)
- Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)
Hundertwasser's comment on the work
Brô had joined me in painting this picture, probably to show me that he could do it this way, too. We were in the midst of the Tachistic period in Paris, also called Art informel or, after Michel Tapié, "Un art autre". Naturally I was influenced by it, without relinquishing my "responsible" style of painting. I never got as far as "automatic smearing" and retained my strict formal structure instead. I wanted to keep my wits, as it were, amongst a company of drunkards. Paris thought it was the centre of the art world, but then it was dethroned by American Pop Art. It was precisely this not very good picture that was the only one to be purchased for the Guggenheim Museum, but it was never exhibited there or reproduced. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 340)