743
TREE MAN VASE - VASE TREE MAN - MAN VASE TREE
LE POT A FLEUR A PLUSIEURS
Opua, 1974
Painted in Ardmore, September 1974 - Opua, Craig`s hut, October 5, 1974
730 mm x 500 mm
Mixed media: watercolour, egg tempera, acrylic and oil on paper, primed with white chalk; mounted on linen
- Haus der Kunst, Munich, 1975
- *
- World Travelling Museum Exhibition:
- Musée d'Art Moderne de la Ville de Paris, 1975
- Musée de l'Etat, Luxembourg, 1975
- Musée Cantini, Marseille, 1975
- A.S.U. Hall, Cairo, 1975
- The Tel Aviv Museum, 1976
- Muzeum Narodowe, Warsaw, 1976
- National Gallery of Iceland, Reykjavik, 1976
- Statens Museum for Kunst, Copenhagen, 1976
- Musée Dynamique, Dakar, 1976
- Seibu Museum of Modern Art, Tokyo, 1977
- Hong Kong Museum of Art, 1977
- South African National Gallery, Cape Town, 1977
- Pretoria Art Museum, 1977
- Museu de Arte Moderna, Rio de Janeiro, 1977
- Museu de Arte, São Paulo, 1977
- Museo de Bellas Artes, Caracas, 1977
- Museo de Arte Moderno, Mexico City, 1978
- Musée des Beaux-Arts, Montreal, 1978
- Royal Ontario Museum, Toronto, 1978
- Palais des Beaux-Arts, Brussels, 1978
- Mücsarnok, Budapest, 1978
- *
- Travelling exhibition 1979-1981:
- Aberbach Fine Art, New York, 1979
- Tokyo Gallery, Tokyo, 1980
- Galerie Brockstedt, Hamburg, 1980
- Hammerlunds Kunsthandel, Oslo, 1980
- Galerie Würthle, Vienna, 1981
- FIAC, Paris, 1980
- H. Brockstedt (ed.), Ao Tea Roa, Hamburg, 1979 (c)
- R. Koyanagi (ed.), Mujinkan 1 - Hundertwasser, Tokyo, 1988, pp. 32 (c), 70
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 577-579 (and c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 54 (c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2010, cover (detail, c)
- G. Illetschko, Planet Hundertwasser, Munich, 2012, cover (c) and p. 74 (c)
- Haus der Kunst, Munich, 1975, p. 267 (c)
- Musée d'Art Moderne de la Ville de Paris, 1975, p. 391 (c)
- Musée de l'Etat, Luxembourg, 1975, p. 291 (c)
- Musée Cantini, Marseille, 1975, p. 291 (c)
- A.S.U. Hall, Cairo, 1975, p. 291 (c)
- The Tel Aviv Museum, 1976, p. 251 (c)
- Muzeum Narodowe, Warsaw, 1976, p. 267 (c)
- National Gallery of Iceland, Reykjavik, 1976, p. 221 (c)
- Supplementary edition Reykjavik, 1976, p. 39
- Statens Museum for Kunst, Copenhagen, 1976, p. 391 (c)
- Supplementary edition no. 2, Copenhagen, 1976, p. 25
- Musée Dynamique, Dakar, 1976, p. 391 (c)
- Seibu Museum of Modern Art, Tokyo, 1977, cover (c), p. 251 (c)
- South African National Gallery, Cape Town / Pretoria Art Museum, 1977, p. 251 (c)
- Museu de Arte Moderna, Rio de Janeiro / Museu de Arte, São Paulo / Palácio Itamaraty, Brasilia, 1977, p. 251 (c)
- Museo de Bellas Artes, Caracas, 1977, p. 251 (c)
- Supplementary edition Caracas, 1977, cat. Tecnica mixta 13
- Museo de Arte Moderno, Mexico City, 1978, p. 251 (c)
- Musée des Beaux-Arts, Montreal, 1978, p. 391 (c)
- Royal Ontario Museum, Toronto, 1978, p. 251 (c)
- Palais des Beaux-Arts, Brussels, 1978, p. 391 (c)
- Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979, p. 267 (c)
- Palazzo Barberini, Rome, 1980, p. 251 (c)
- Sonja Henies og Niels Onstads Stiftelser Kunstsentret, Høvikodden, 1980, p. 251 (c)
- Museum Ludwig, Cologne, 1980, p. 301 (c)
- Secession, Vienna, 1981, p. 301 (c)
- Kulturhaus, Graz, 1981, p. 301 (c)
- Neue Berliner Galerie, East Berlin, 1981 (c)
- Helsingin kaupungin taidemuseo, Helsinki, 1981, p. 251 (c)
- Barbican Art Gallery, London, 1983, p. 251 (c)
- Travelling exhibition 1979-1981: Hundertwasser Is Painting (c)
- Wien, 30 Jahre Hauptstadt der 2. Republik, Vienna, 1975 (c)
- Cultures 36, Dialogue between the people of the world, Unesco, Paris, 1985
- S. R. Damm, Mehrphasentherapie, Munich, 1995, cover (c)
- Program 1996, J. Pfeiffer Verlag, Munich, cover: Leben lernen (Psychologie, Psychotherapie)
- G. Rosemann, Sprich ein deutliches Ja, Donauwörth, 2003, Cover (c)
- Elle, May 12, 1975, Paris (b)
- Noticias de Austria, no. 6/77, Bundeskanzleramt, Bundespressedienst, Vienna (c)
- arts, no. 194, Sept. 1979, Paris, p. 20 (b)
- Milliyet Sanat Dergisi, Yeni Dizi 23, May 1, 1981, p. 33 (c)
- Art Calendar 1976, Verlag Galerie Welz, Salzburg (cover, 29,9 x 20,4 cm)
- Invitation card, Pretoria Art Museum, Pretoria, 1977
- Art Calendar 1977, Verlag Galerie Welz, Salzburg (October, 29,9 x 20,4 cm)
- Art Agenda 1979, Cicero GmbH, Stuttgart
- Art Calendar, Hundertwasser 1979, Cicero GmbH, Stuttgart (May, big)
- Art Agneda, Hundertwasser 1980, Cicero GmbH, Stuttgart
- Calendar 1985 Hundertwasser, Verlag Galerie Welz, Salzburg (September)
- Hundertwasser Art Agenda 1987, Caesar Art Interantional, Stuttgart
- Hundertwasser Art Agenda 1988, Caesar Art International, Stuttgart
- Postcard, Joram Harel Management, Vienna, 1988
- Hundertwasser artclou 1989, Caesar Art International, Stuttgart
- Hundertwasser Art Jahrbuch 1992, Caesar Art International, Stuttgart
- Hundertwasser Art Memo, Caesar Art International, Stuttgart
- Hundertwasser Mini Adressbuch, Borer & Wörner Verlag, Zug, 1994
- Hundertwasser Pocket Art and Pocket Art 95, Borer & Wörner, Zug
- Hundertwasser 2004 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser Pocket Art 2004, Borer & Wörner, Zug
- Calendar, Hundertwasser 2004, teNeues, Kempen
- Hundertwasser Pocket Notes, Wörner, Rutesheim, 2011
- Hundertwasser Pocket Art 2012, Wörner, Rutesheim
- Hundertwasser 2012 Calendar, Taschen, Cologne (and reprints)
- Hundertwasser Art Calendar 2016, Wörner, Rutesheim
- Hundertwasser Agenda 2019, Wörner Verlag, Rutesheim
Hundertwasser's comment on the work
The picture can be looked at from three sides, each of which makes sense: tree, head, vase, for example. Here I drew the paths which lead to the various dwellings with meticulous precision. All of them put together make up a broad road. I wanted to draw such a path out of an apartment house or the Art Academy, too, beginning with every flat or studio door, with a ceramic line firmly fixed in the ground, all the way to the exit. The nearer one gets to the exit, the more lines come together. This is one architectural idea of mine that has yet to be realised. I painted the picture in Craig Fagan's hut, at Waikare Inlet. The half-open door served as a window. If it was closed, it was dark. There was a little stove in the hut. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 578)