.jpg?w=1)
拍品專文
This work is recorded in the Hundertwasser archives under no. 255.
Today we live in a chaos of straight lines, in a jungle of straight lines. If you do not believe this, take the trouble to count the straight lines which surround you. Then you will understand, for you will never finish counting. (F. Hundertwasser, Mouldiness Manifesto, 1958, reproduced at www.hundertwasser.de).
The unrestrained waves of colour that flood across the surface of Friedensreich Hundertwassers Montagne give the canvas a palpable sense of life and freedom. The artists thick and energetic brushstrokes resemble layers of molten lava that have cooled to form undulating strata of rock that contains the remnants of the energy and power present at the moment of its creation. The jostling swathes of oil and tempera create rich seams of vibrant colour that mingle into neighbouring areas of delicate translucency, creating wave upon wave of vibrant movement.
Born in Austria in 1928, Hundertwasser grew up surrounded by Viennas rich heritage of Art Nouveau masterpieces. He received little formal training yet his luxurious and sinuous forms have drawn comparisons with figurative artists such as Gustav Klimt and Egon Schiele. However, Hundertwasser modified these motifs and combined them with his own interest in the natural world and the relationship between man, nature and the built environment.
Hundertwassers distinctive visual style has also been linked to the political and social shifts in Europe after the end of World War II. Exhibited at the Venice Biennale in 1962, Montagne breathes new life into a world that was recovering from the closed, uniform, cold and grey utilitarian existence that many had struggled to survive. Its rich colours and unregimented formal qualities are at odds with the regimented routine of life in post-war Europe.
Most of the artists work was painted in-situ. He had no studio and created his paintings at home, in bars and restaurants or at friends houses, wherever he happened to be when the inspiration took him. He refused to paint at an easel and would often lay his canvases out on the ground in front of him. Hundertwasser was also intimately interested in the technical aspects of painting too. He made many of his paints himself from a variety of mediums, including watercolours, oil and egg tempera, shiny lacquers and ground earth. As is the case with
Montagne, he occasionally would use various types of paint in one painting, placing them next to each other so he could contrast both their colour and their texture.
Deeply spiritual and interested in the politics of the environment, Hundertwassers Montagne is a work that deeply reflects the age in which it was created as well as the character of the artist who created it. Its texture, colour and energy celebrates the joy of life and a determination not to squander the infinite possibilities that it holds.
Today we live in a chaos of straight lines, in a jungle of straight lines. If you do not believe this, take the trouble to count the straight lines which surround you. Then you will understand, for you will never finish counting. (F. Hundertwasser, Mouldiness Manifesto, 1958, reproduced at www.hundertwasser.de).
The unrestrained waves of colour that flood across the surface of Friedensreich Hundertwassers Montagne give the canvas a palpable sense of life and freedom. The artists thick and energetic brushstrokes resemble layers of molten lava that have cooled to form undulating strata of rock that contains the remnants of the energy and power present at the moment of its creation. The jostling swathes of oil and tempera create rich seams of vibrant colour that mingle into neighbouring areas of delicate translucency, creating wave upon wave of vibrant movement.
Born in Austria in 1928, Hundertwasser grew up surrounded by Viennas rich heritage of Art Nouveau masterpieces. He received little formal training yet his luxurious and sinuous forms have drawn comparisons with figurative artists such as Gustav Klimt and Egon Schiele. However, Hundertwasser modified these motifs and combined them with his own interest in the natural world and the relationship between man, nature and the built environment.
Hundertwassers distinctive visual style has also been linked to the political and social shifts in Europe after the end of World War II. Exhibited at the Venice Biennale in 1962, Montagne breathes new life into a world that was recovering from the closed, uniform, cold and grey utilitarian existence that many had struggled to survive. Its rich colours and unregimented formal qualities are at odds with the regimented routine of life in post-war Europe.
Most of the artists work was painted in-situ. He had no studio and created his paintings at home, in bars and restaurants or at friends houses, wherever he happened to be when the inspiration took him. He refused to paint at an easel and would often lay his canvases out on the ground in front of him. Hundertwasser was also intimately interested in the technical aspects of painting too. He made many of his paints himself from a variety of mediums, including watercolours, oil and egg tempera, shiny lacquers and ground earth. As is the case with
Montagne, he occasionally would use various types of paint in one painting, placing them next to each other so he could contrast both their colour and their texture.
Deeply spiritual and interested in the politics of the environment, Hundertwassers Montagne is a work that deeply reflects the age in which it was created as well as the character of the artist who created it. Its texture, colour and energy celebrates the joy of life and a determination not to squander the infinite possibilities that it holds.