609
SCHIFFBRUCH - UNTERGANG VENEDIGS
SHIPWRECK - THE SINKING OF VENICE
NAUFRAGE - L'ENGLOUTISSEMENT DE VENISE
Venice, 1964
Painted in Chioggia, September 11, 1964 - on board the S/S Philippos, Venice - Korfu - Piräus - Rhodos, September 13-16; mounted on hemp and finished in Venice, October 19, 1964
685 mm x 490 mm
Mixed media: Watercolour on drawing paper, primed with PV, mounted on hemp with PV, painted over in parts with PV, oil, gold and silver bronze
Sprengel Museum Hanover, Germany
- Travelling exhibition 1967:
- Galerie Karl Flinker, Paris, 1967
- Hanover Gallery, London, 1967
- Galerie Krugier / Galerie Georges Moos, Geneva, 1967
- Kunstverein Berlin, 1967
- *
- Haus der Kunst, Munich, 1975
- Städtisches Museum Braunschweig, 1996
- Institut Mathildenhöhe, Darmstadt, 1998
- Kunsthalle Bremen, 2012/13
- Osthaus Museum, Hagen, 2015
- Galerie Änne Abels, Cologne, 1964
- Kunsthalle Hanover, 1965
- W. Hofmann, Hundertwasser, Salzburg, 1965, pl. 47 (c)
- P. Restany, Hundertwasser, New York, 1978, p. 103 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 490/491 (and c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 37 (c)
- Änne Abels, Cologne, 1964, no 10 (c)
- Sammlung Sprengel, Kunsthalle Hanover, 1965 (c)
- Galerie Karl Flinker, Paris, 1967 (c)
- Hanover Gallery, London, 1967 (c)
- Galerie Krugier / Galerie Georges Moos, Geneva, 1967 (c)
- Kunstverein Berlin, 1967 (c)
- Leaflet: Galerie Welz, Salzburg, 1967 (c)
- Haus der Kunst, Munich, 1975, p. 225 (c)
- Muzeum Narodowe, Warsaw, 1976, p. 225 (c)
- Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979, p. 225 (c)
- Museum Ludwig, Cologne, 1980, p. 251 (c)
- Secession, Vienna, 1981, p. 251 (c)
- Kulturhaus, Graz, 1981, p. 251 (c)
- Institut Mathildenhöhe, Darmstadt, 1998, p. 81 (c)
- Gegen den Strich. Werke 1949-1970, Kunsthalle Bremen, 2012/13, pp. 223 (c), 257
- Hundertwasser Lebenslinien, Osthaus Museum, Hagen, 2015, p. 56 (c)
- P. Vogt, Contemporary Painting, New York, 1981, p. 135, pl. 50 (c)
- V. Schleiffenbaum (ed.), Ich denke, es ist Kunst. Kunst mit den Augen von Kindern 4, Zürich, 2015, pl. 19 (c)
- Der Kunsthandel, Sept. 1970, Heidelberg (b)
- Abwassertechnik, VI - VII, Munich, 1975 (b)
- Postcard, Verlag Galerie Welz, Salzburg, 1968 (repr.)
- Postcard, Hanfstaengl, Munich, 1970
- Coloured collotype print, Daco-Verlag (Franz Hanfstaengl, München), 1970 (printed by Lucas Lichtdruck GmbH, Stuttgart, 60 x 78 cm / 48 x 55,5 cm
- Art Calendar 1972, Cicero GmbH, Stuttgart (July: 490 x 350 mm)
- Art Calendar 1973, Cicero GmbH, Stuttgart (July)
- Art Calendar 1974, Dumont Schauberg, Cologne (October: 340 x 243 mm)
- Art Calendar 1975, Forum, Steinheim am Main (cover: 375 x 267 mm)
- Calendar: Art Treasures 1976, Forum Verlag, 1975 (cover: 401 x 294 mm)
- Art Print, Forum Verlag, Steinheim am Main, 1976
- Art Agenda, 1979, cicero GmbH, Stuttgart
- Art Calendar, Hundertwasser 1980, Buchheim Verlag, Feldafing (June)
- Art-Agenda, Hundertwasser 1980, Cicero GmbH, Stuttgart
- Art Calendar, Hundertwasser 1981, B. Wörner, Gerlingen (June: 490 x 350 mm)
- Fineart-Calendar, Moderne Kunst, 1983, SKV (July, postcard)
- Art Agenda Hundertwasser 1987, Caesar Art International, Stuttgart, 1987
- Hundertwasser Art Agenda 1988, Caesar Art International, Stuttgart
- Hundertwasser Artclou 1989, Caesar Art International, Stuttgart
- Hundertwasser Art Jahrbuch 1992, Caesar International Art, Stuttgart
- Hundertwasser Agenda 1995, Borer & Wörner, Zug
- Hundertwasser Pocket Art and Pocket Art 95, Borer & Wörner, Zug
- Art Calendar: Malerei des 20. Jahrhunderts, Forum Bildkunstverlag, Hanau (cover)
- Hundertwasser Agenda 1996, Borer & Wörner, Zug
- Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser Pocket Art 2010, Wörner, Rutesheim
- Calendar, Hundertwasser Art 2011, teNeues, Kempen
- Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser Pocket Art 2015, Wörner, Rutesheim
- Hundertwasser Agenda 2019, Wörner Verlag, Rutesheim
Hundertwasser's comment on the work
I was already very much at home in Venice, knew that the gondolas are asymmetrical and went for walks in rubber boots in the high water at aqua alta [Italian for high water]. At the café bar you had to look out that your change didn't fall into the water. When in the evening the lights of the lanterns and fully illuminated shops, all of which were open, were reflected in the water's waves, in the streets, it seemed as if I were Alice in Wonderland. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 490)