621
CONTRETEMPS III SILBERGESICHT
CLOUDS ON CONTRETEMPS III
NUAGES SUR CONTRETEMPS III
Paris, 1965
Painted in Berlin, August 1965 - Hagenberg - Paris, October 1965
340 mm x 560 mm
Watercolour with chocolate aluminium foil on paper, primed with chalk and PV
- Travelling exhibition 1967:
- Galerie Karl Flinker, Paris, 1967
- Hanover Gallery, London, 1967
- Galerie Krugier / Galerie Georges Moos, Geneva, 1967
- Kunstverein Berlin, 1967
- *
- Russeck Gallery, Palm Beach, 2000
- Russeck Gallery, San Francisco, 2001
- Russeck Gallery, New York, 2001
- W. Schmied, Hundertwasser - Der Weg zu Dir, Frankfurt am Main, 1967, ed. 1971, 1974, pl. 9 (c), p. 66
- J.F. Mathey, Hundertwasser, Munich, 1985 and ed. 1992, p. 38 (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 499/500 (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)
- J. Bugental, Gedeelde intimiteit, Amsterdam, 1996, cover (c)
- Art Calendar 1974, Cicero GmbH, Stuttgart (30 x 50 cm, March)
Hundertwasser's comment on the work
This as an explanation of several "contretemps" pictures, of 348 and 620, as well: if two people are in love with each other, they look at each other; if only one loves the other, one of them looks away. That is "Contretemps - against time - in love": love doesn't happen simultaneously, but is "staggered" in time otherwise. But the highest level of harmony is when both look in the same direction. Contretemps is hard to translate. Counter-temporality? When people don't go to a rendez-vous at the same time and don't meet, that is contretemps, too. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 499-500)