611
HEIMWEH DER FENSTER - HEIMWEH INS MEER
WINDOWS' HOMESICKNESS
LA NOSTALGIE DES FENETRES
Venice, 1964
Painted in Lausanne - Montreuil, October 4, 1964 - Venice, November 19, 1964
700 mm x 970 mm
Mixed media: PVA, watercolour, oil and egg tempera on drawing paper, primed with chalk and PV; mounted on jute with PV
Albertina, Vienna
- Travelling exhibition 1967:
- Galerie Karl Flinker, Paris, 1967
- Hanover Gallery, London, 1967
- Galerie Krugier/Galerie Georges Moos, Geneva, 1967
- Kunstverein Berlin, 1967
- KunstHausWien, Vienna, March - September 2012
- ARKEN Museum of Modern Art, Ishoj, Denmark, 2014
- Buchheim Museum, Bernried, 2016/17
- Von der Heydt-Museum, Wuppertal, 1980
- Künstlerhaus, Vienna, 1996
- Kunsthalle Erfurt, 2001
- Essl Museum, Klosterneuburg, 2010
- Essl Museum, Klosterneuburg, 2016
- W. Schmied, Hundertwasser - Der Weg zu Dir, Frankfurt, 1967, ed. 1971, 1974, pl. 3 (c), p. 65
- W. Schmied, Hundertwasser, Salzburg, 1974, pl. 86 (c), p. 318
- I. Riedel, Guten Morgen, Stadt, Freiburg i. Br./Gelnhausen, 1974, no. 21 (colour slide)
- H. Rand, Hundertwasser - Der Maler, Munich, 1986, pl. 81 (c), p. 166
- Das Hundertwasser Haus, Vienna, 1985, p. 32 (c)
- H. Rand, Hundertwasser, Cologne, 1991, p. 116 (c) and ed. 1993, p. 98 (c)
- Hundertwasser Architektur, Cologne, 1996, p. 33 (c)
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 186/187 (and c), 197
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 492/493 (and c)
- Galerie Karl Flinker, Paris 1967 (c)
- Hanover Gallery, London, 1967 (c)
- Galerie Krugier/Galerie Georges Moos, Geneva, 1967 (c)
- Kunstverein Berlin, 1967 (c)
- Treffpunkt Parnass, Wuppertal 1949-1965, von der Heydt-Museum, Wuppertal, 1980, p. 306, cat. 99
- W. Schmied (ed.), Malerei in Österreich 1945-1995 - Die Sammlung Essl, Künstlerhaus, Vienna, 1996, pp. 84 (c), 294
- Kirche zu St. Jakobi, Stralsund, 2011, p. 34 (c)
- Hundertwasser, ARKEN Museum of Modern Art, Ishoj, 2014, p. 78 (c)
- made in austria, Essl Museum, Klosterneuburg, 2014, p. 28 (c)
- Hundertwasser Schön & Gut, Buchheim Museum, Bernried, 2016, p. 68 (and c)
- Prospectus for the presentation of the Hundertwasser postage stamp, Vienna, 1975 (c)
- Pochlatko/Koweindl/Amon, Abriß der deutschsprachigen Literatur, Vienna, 1992, pl. 16 (c)
- Warum Allemand 2, Paris, 1997, p. 37 (c)
- Art Calendar 1977, Verlag Galerie Welz, Salzburg (January, 214 x 298 mm)
- Art Calendar 1980, Verlag Galerie Welz, Salzburg (September, 480 x 340 mm)
- Master pieces, A memo game, Sammlung Essl, Klosterneuburg, 2002 (and information booklet, b)
- Hundertwasser Calendar 2004, Verlag Galerie Welz, Salzburg
- Hundertwasser 2004 Calendar, Taschen, Cologne (repr. 2005 - 2010)
- Reproduction on wall, CROC incorporated, Moscow, 2009 (c, detail)
- Exhibition poster, Essl Museum, Klosterneuburg, 2016
Hundertwasser's comment on the work
Here the windows are floating in space, detached from the architecture. The windows' transparentness, consisting of air and glass, is related to water; they can glow by themselves and sink in the sea. This is a kind of dream. Architectural parts can be seen and a path emanating from a head and transversing a field.
(from: Hundertwasser Architecture, Cologne, 1997, p. 33)
When the high tide in Venice rises above the windows, you can't see the glass anymore. The glass feels good when it is surrounded by water, and one has the feeling that the glass has found its true home. In an aquarium, too, the glass is calm and beautiful with the water behind it, but when it is surrounded by air, it is dirty, sick and nervous. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 492)