Friedensreich Hundertwasser (1928-2000)
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Friedensreich Hundertwasser (1928-2000)

Fenêtre Extrovertie

Details
Friedensreich Hundertwasser (1928-2000)
Fenêtre Extrovertie
signed and dated 'Hundertwasser 1963' (on the reverse); signed twice, titled, inscribed and dated 'HUNDERTWASSER "FENÊTRE EXTROVERTIE" 1963 Hundertwasser' (on a paper label affixed to the reverse)
tempera and oil on paper laid down on canvas
21¼ x 28¾in. (54 x 73cm.)
Executed in 1963
Provenance
Galerie Karl Finker, Paris.
Anon. sale, Sotheby's London, 30 June 1977, lot 451.
Acquired at the above sale by the present owner.
Literature
Les Peintres Contemporains, Paris 1964 (illustrated).
W. Schmied, Hundertwasser 1928-2000 Catalogue Raisonné, Vol. I, Cologne 2000 (illustrated, p. 102).
A. C. Fürst, Hundertwasser 1928-2000 Catalogue Raisonné, Vol II, Cologne 2002 (illustrated, p. 461).
W. Schmied (ed.), Geschichte der bildenden Kunst in Österreich - 20. Jahrhundert, Munich 2002 (illustrated, p. 96).
Exhibited
Hannover, Kestner-Gesellschaft, Hundertwasser, 1964-65, no. 559 (illustrated in colour, p. 106). This exhibition later travelled to Bern, Kunsthalle; Hagen, Karl-Ernst-Osthaus-Museum; Vienna, Museum des 20. Jahrhunderts; Amsterdam, Stedelijk-Museum and Stockholm, Moderna Museet.
Special notice
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.
Further details
This work is recorded in the Hundertwasser archives under no. 559.

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Lot Essay

Fenêtre extrovertie, executed in 1963, is a prime example of Hundertwasser's particular abstract and decorative style which is underpinned by a personal philosophy of life and art. To the Austrian painter, art led to the path towards a new form of progress. Fenêtre extrovertie is a vibrant and colourful abstract composition dominated by circles and spirals. For Hundertwasser, the spiral could be a symbol of birth, movement, the beginning or the end, although irrespective of its significance it is also highly seductive as a decorative motif, resulting in this beautifully rendered example.

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