HUNDERTWASSER

Pacific Steamer (#868A)

Pacific Steamer (#868A)

Japanese Woodcut in 30 colours, Ed: 962/999

57 x 42 cm. / 22½ x 16½ in. (overall)

1985

$9,500 USD

REF 1125

Friedensreich Hundertwasser may be best known for his building designs, but the Austrian artist’s paintings and prints first brought him international acclaim after he won the Mainichi Prize at the 6th International Art Exhibition in Tokyo in 1961 and was given a retrospective at the Venice Biennial in 1962.

While hitchhiking in Italy at the end of the 1950s, Hundertwasser was introduced to the Japanese Edo Period woodblock printing (1603-1867), whose landscapes made a lasting impression on him. In 1961, he accepted an invitation to exhibit in Tokyo and during his stay, he became inspired by the traditional “ukiyo-e” wood printing technique which, since the printing was created by hand and not a machine, allowed for a blending or gradation of colours on the printing block. 

Hundertwasser in the zen garden at Ryoan

Hundertwasser in the zen garden at Ryoan-ji, Kyoto in 1992 (Photo property of Hundertwasser Foundation)

Hundertwasser's first wood print was based on the 1961 painting Houses in Blood Rain – a painting that makes an Austrian Jew cry which made him the first European artist to have his design cut in wood by traditional Japanese craftsmen.

 

The process was extremely arduous. It took seven years of intense work and handling before the first series of woodcuts gradually matured. However, Hundertwasser embraced the aesthetic process as cooperative and the successive labour of many hands — the designer, the carver, the printer. So much so that each woodcut carries the names and signets of the Japanese craftsmen who worked on them, the colours that were used and, of course, the traditional kanji seal — Hundertwasser’s is a literal translation of his surname, “Hyaku Mizu (Hundred Water)”.

HW 1034 White Fog Song.jpg

White Fog Song of a Mandarin

Japanese woodcut in 21 colours, Ed: 3/200

42.5 x 57 cm.

1992

$8,500 USD

REF 1034

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Talk in a Rain of Blood

Japanese Woodcut in 18 colours, Ed.:  205/205

42 x 57 cm.

1997

$ 8,000 USD

REF 2089

The artist further took care to provide detailed information about each work on the graphic sheet, including the several colour versions and variants, which are not numbered separately but rather numbered throughout the entire edition. By doing so, Hundertwasser managed to create unique pieces within the art of the graphic.


This unparalleled effort in itself makes these prints precious and imparts their exceptional position within the artist's oeuvre. Woodcuts became a life-long endeavour for the artist who produced on average only one per year, as printing proofs would be sent back and forth between Japan and Europe with annotations for changes and improvements.

Do not Wait Houses Move.jpeg

Do not Wait Houses Move

Japanese woodcut in 14 colours,  Ed: 354/499

57 x 42 cm.

1989

$8,500 USD

REF 1137

Tennos Fly with Hats.jpeg

Tennos Fly with Hats  

Japanese woodcut in 22 colours, Ed: 174/300

57 x 42 cm.

1987

$9,500 USD

REF 2202

However, Hundertwasser’s popularity is not only based on the mass appeal of his prints, paintings and his visionary architecture but today, more than ever, he is recognized for his active dedication to environmental protection. He helped restore the Kaurinui Valley in New Zealand where he purchased over 300 hectares of land and planted thousands of trees to improve the soil, the water, the air, the soul and for the sake of beauty.

"I should perhaps like to be known as the magician of vegetation or something similar, Hundertwasser wrote. "We are in need of magic. I fill a picture until it is full with magic, as one fills up a glass with water. Everything is so infinitely simple, so infinitely beautiful." We hope you enjoy these beautiful Japanese woodcuts that represent the artist's desire to integrate cultures, meaning and beauty, Through his pictures, he offered possibilities for a better world, and he turned his vision of paradise into a reality in the modest safe havens he created in the Austrian region “Waldviertel”, in Normandy, in Venice, and lastly in New Zealand.

A D D I T I O N A L   H U N D E R T W A S S E R   PRINTS

BLUE TEARS – BLAUE TRÄNEN
BLUE TEARS – BLAUE TRÄNEN

Silkscreen with foil embossing Ed.: 103 / 282 90 x 60 cm. / 35½ x 23½ in. 1997 REF 2198

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SECRET FLOWERS OF THE KING
SECRET FLOWERS OF THE KING

SOLD

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L’EXPULSION
L’EXPULSION

Lithograph in 14 colours Ed: 35/154 71.5 x 90 cm. / 28¼ x 35½ in. 1967 REF 405

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BLUE TEARS – BLAUE TRÄNEN
BLUE TEARS – BLAUE TRÄNEN

Silkscreen with foil embossing Ed.: 103 / 282 90 x 60 cm. / 35½ x 23½ in. 1997 REF 2198

press to zoom
1/5

2021 CATALOGUE

H U N D E R T W A S S E R  BIO

1928-2000

Friedensreich Hundertwasser was born in Vienna in 1928 as Friedrich Stowasser, an only child whose father died of appendicitis when he was but a year old. In spite of being half Jewish, both he and his mother survived the war, although many in his family did not.

 

His only formal artistic training came in 1948 when he started studying at the Akademie der bildenden Künste in Vienna, but he left after three months out of boredom. (Ironically he became an honoured guest lecturer, giving Master Classes at the Academy many years later.) He was much more influenced by the works of Schiele as exhibited that year in a large retrospective commemorating the 50th anniversary of the artist’s death. He was also influenced by Gustav Klimt and the Viennese Sezessionstil (the Austrian equivalent of the French Art Nouveau and German Jugendstil) using art as decoration, employing sinuous lines and utilizing cloisonné effects.

 

In 1949, his last name evolved to Hundertwasser (A Hundred Waters from ‘sto’ meaning ‘hundred’ in Polish) and he began travelling to Italy and France, hitchhiking with friends, exhibiting his first pictures in Paris at the Galerie Librairie Palmes in the autumn. Hundertwasser subsisted happily in Paris on, literally, next to nothing for a number of years, working often with his friend René Brô. By 1952, he mounted his first solo exhibit at the Art Club in Vienna as well as one at the Galeria Sandi in Venice.

 

At 25, he impulsively married Herta Leitner, an Austro-Italian teenager, on a visit to Gibraltar, but started divorce proceedings almost immediately after. In July of the same year, he presented his famous ‘Mould Manifesto: Against Rationalism in Architecture’. Hundertwasser’s revulsion of the straight line and geometric regularity became apparent with his contention that ruler-drawn straight lines make people sick because they do not occur in nature and incessantly subject the human organism to an irritation for which it is unprepared. Spirals became the primary shapes in his paintings, as the only form ‘worthy of confidence - the one that corresponds to the motion which is made when opposites begin to move’.

 

Hundertwasser made his first trip to Japan in 1961 after Yves Klein and the Japanese art critic Segui brought his work to the attention of Yamamoto, a gallery in Tokyo’s Ginza. During this sojourn, he changed his first name to Friedensreich (Kingdom of Peace). His show in late spring sold out and, by the time he left, he had met his second wife, Yuko Ikewada, an art student. Married in 1962, he established a studio in Venice across from Piazza San Marco and was highlighted in a one-man show in the Austrian pavilion of the Biennale. In September 2004, his work was also featured in the opening exhibition of the new Museum des 20.Jahrhunderts in Vienna.

 

The large international travelling Hundertwasser exhibition arranged in 1964 by Kestner-Gesellschaft in Hanover for their 100th show established his international reputation and his independence from other contemporary art movements. Subsequent to his divorce in 1966, he earned some notoriety giving a couple of speeches in the nude on his architecture manifesto. When he was only 40, the University of California at Berkeley organized a momentous travelling retrospective across the States.

 

This same year he bought the Giuseppe T., an old wooden sailing vessel, which he spent four years living aboard in the Venetian lagoon, refitting it before rechristening it the Regentag. After sailing there to attend a show he was having in 1973, Hundertwasser fell in love with New Zealand. Buying a farm at the northern end, he proceeded to plant over 60,000 diverse trees and build the house and guesthouse with grass roofs and beer bottle windows. He became progressively more involved in environmental issues, producing posters for Green Peace and the Jacques Cousteau Society, planting trees in Washington DC and speaking to the US Senate in 1980.

 

Having initially gained acclaim for his paintings, Hundertwasser is now almost better known for his unique architectural style. His revolutionary ecological stance with regard to architecture earned him the nickname ‘Architecture-Healer’ for his efforts to modify and beautify existing structures in addition to creating new edifices. The influence of Antoni Gaudi's work in Barcelona, as well as some of the Jugendstil architects, can be seen in the inclusion of irregular forms and undulating surfaces in his building designs. However, Hundertwasser's radical architectural ideas also include topping buildings with trees and grassy areas where animals can graze.

 

A true renaissance man and citizen of the world, his works have included not just paintings and prints but also flags and stamps, coins and posters, large (the Viennese heating plant at Spittelau) and small (a lavatory in Kawakawa NZ) public buildings. Friedensreich Hundertwasser passed away suddenly while crossing the Pacific aboard Queen Elizabeth II in February 2000. In accordance with his wishes, he is buried in harmony with nature under a tulip tree on his land in New Zealand.