425
KAABA PENIS - DIE HALBE INSEL
Kaaba Penis - The Peninsula
Hamburg, 1959
Painted in Hamburg, Lerchenfeld Art Institute, December 1959
1000 mm x 730 mm
Mixed media: egg tempera and oil on wrapping paper, primed with chalk and PV; mounted on canvas with PV
gold and silver bronze (?); Mixed media: egg tempera and oil on wrapping paper, primed with chalk and PV; mounted on canvas with PVgold and silver bronze (?)
gold and silver bronze (?); Mixed media: egg tempera and oil on wrapping paper, primed with chalk and PV; mounted on canvas with PVgold and silver bronze (?)
- 31st Venice Biennial, 1962
- *
- Travelling exhibition 1964/65:
- Kestner-Gesellschaft, Hanover, 1964
- Karl-Ernst-Osthaus-Museum, Hagen, 1964
- Stedelijk Museum, Amsterdam, 1964
- Moderna Museet, Stockholm, 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
- *
- Haus der Kunst, Munich, 1975
- Documenta III, Kassel, 1964
- Labyrinthe, Akademie der Künste, Berlin, 1966
- Galerie Thomas, Munich, 1980
- Hundertwasser, Regentag - Rainy Day - Jour de pluie, Munich, 1972, pp. 54/55 (c, photomontage), 85
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, p. 387 (c)
- XXXI. Biennale di Venezia, Austria, 1962, no. 29 (c)
- Dokumenta III, Kassel, 1964 (c)
- Kestner-Gesellschaft, Hanover, 1964, p. 184
- Moderna Museet, Stockholm, 1964, cat. 68
- Museum des 20. Jahrhunderts, Vienna, 1965, cat. 83
- University Art Museum, Berkeley, 1968, p. 81 (c), cat. 41
- Haus der Kunst, Munich, 1975, p. 193 (c)
- Muzeum Narodowe, Warsaw, 1976, p. 193 (c)
- Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979, p. 193 (c)
- Museum Ludwig, Cologne, 1980, p. 217 (c)
- Secession, Vienna, 1981, p. 217 (c)
- Kulturhaus, Graz, 1981, p. 217 (c)
- Die ersten 15 Jahre, Galerie Thomas, Munich, 1980, pl. 77 (c)
- W. Hofmann, La pittura del XX secolo, 1968 (b)
- W. Haftmann, Malerei im 20. Jahrhundert 2, Munich, 1980, p. 397 (b)
- Das Bertelsmann Lexikon, vol. 4, Güterslohn, 1973, p. 390 (c)
- Kunst der Gegenwart, Supplementband II der Propyläen Kunstgeschichte, Munich, 1978, pl. 97 (c)
- Hundertwasser Bibel, Augsburg, 1995, NT, p. 176 (c)
- Paletten, March 1962, Göteborg, cover (c)
- Hannover Allgemeine, April 17, 1964 (b)
- Art, no. 11, Nov. 1983, Hamburg, p. 27 (c)
- Exhibition Poster, Kestner-Gesellschaft, Hanover, 1964 (together with 460, 202, 227)
- Hatje Art Galendar, 1971 (February, 28 x 20,5)
- Art Calender 1974, Cicero GmbH, Stuttgart, (August, 50 x 35 cm)
- Cicero Art Agenda, 1979
- Art-Agenda, Hundertwasser 1980, by Cicero
- Small Art-Calender, Hundertwasser 1980, by Cicero (September)
- Big Art-Calender, Hundertwasser 1980, by Cicero (August)
- Art Calender, Hundertwasser 1981, by Welz, Salzburg (coverpage)
- Art-Calender 1985, by Wörner (February, small)
- Hundertwasser Kalender 1987, by Galerie Welz
- Hundertwasser artclou 1989, by caesar International Art, Stuttgart
- Hundertwasser artclou 1991, by caesar International Art, Stuttgart
- Hundertwasser Agenda, B. Wörner, Rutesheim, 1993
- Hundertwasser Pocket Art and Pocket Art 94, B. Wörner, Rutesheim 1993
- Art Calendar 1994, Verlag Galerie Welz, Salzburg (April)
- Hundertwasser Art Calendar 1995, Bohrer & Wörner, Zug (560 x 490 mm, March)
- Hundertwasser Agenda 1995, Bohrer & Wörner, Zug
- Hundertwasser Agenda 1996, Borer & Wörner, Zug
- Hundertwasser Adressbuch, B. Wörner, Rutesheim, 1993
- Hundertwasser Pocket Art 2004, Borer & Wörner, Zug
- Hundertwasser Pocket Art Address book, Borer & Wörner, Zug, 2006 (detail)
- Hundertwasser Pocket Art Perpetual Calendar, Borer & Wörner, Zug, 2006 (detail)
- Hundertwasser Pocket Art 2007, Borer & Wörner, Zug
- Hundertwasser Pocket Art 2010, Wörner, Rutesheim
- Calendar, Hundertwasser Art 2010, Wörner, Rutesheim (small size)
Hundertwasser's comment on the work
Wieland Schmied turned penis into pennies, so Moslems, for one, would not be offended, which never entered my mind, anyway, as I felt much better in the Arab context than in the Christian or Jewish ones. The year I had spent in Morocco and Tunesia proved to be a decisive influence in this. Arab music, the crookedness of Arab houses, Arab hospitality, Arab colourfulness and frugality, Arab respect for the printed page, the gardens of paradise and much more left their stamp on me for good. Later Buddhism and the world of the Hindu gods impressed me. I show penises in my works, but never belittlingly, e.g., in 622 Mourning Schiele, 792 Love Is Something, but also in the towering chimneys of Spittelau and Osaka. On the main portal of St. Stephen's in Vienna a huge penis can be made out, too. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 387)