Friedensreich Hundertwasser:
Painting "(224) The Big Way"


Friedensreich Hundertwasser:
Painting "(224) The Big Way"

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Reproduction | Foil stamping | Solid wood strips | Format: 80 x 81 cm

Friedensreich Hundertwasser: Painting "(224) The Big Way"

The spiral is one of the great themes we always meet in Hundertwasser´s creations. For Hundertwasser, the spiral is a life symbol, developed from a tiny cell, growing slowly and organic, and finally into infinity. Organic, as growth rings, the windings of the large way follow one after another, in a color harmony, as only nature can create. Colors and shapes as music for eyes. High quality reproduction with foil stamping. Framed in silvery solid wood frame. Format: 80 x 81 cm. The big Way. Le grand chemin, 1955. (Wien, Österreichische Galerie). © 2012 Stiebner Verlag GmbH, München, and Gruener Janura AG, Glarus, 15. Edition 27501-29000.

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Friedensreich Hundertwasser (1928-2000) was one of the most famous and creative artists. Being under the influence of Paul Klee and Gustav Klimt the Austrian master developed the artistic world of winding secrets and in no other work of art the paint is applied more bravely and sensitively than in paintings of Hundertwasser.

The promotion of life according to the laws of nature and the desire to reflect all areas of life in art individually were the main points of Hundertwasser’s creative works. He wanted to unite the creatures of men with the creatures of the nature and help people to satisfy the desire for the beautiful and various in the harmony with nature.

The art of Hundertwasser was opposed to the monotonous reality of the every-day life governed and founded by the mere ratio. Instead of the strict lines perceived as too geometrical he placed the natural shapes. He changed the pervasive grey for powerful and shining colors up to glossy gold.

His art wasn’t purely the gallery or museum kind of art. According to Hundertwasser if the art was destined to change the world, it should enter the lives of average people. When he addressed to the “practical” art and designed the objects of everyday life like book covers, glasses, cups, postal stamps and, finally, the whole houses, it wasn’t the new direction of his art, but continuation of the prospect, set in the beginning of his artistic career: “I want to give people the things which are beautiful and practical, which can mean something for them and enrich them.”

For Hundertwasser art should be associated with individual creativity. He was skeptical about the mass production of things and hostile to the purely functional architecture. He was sure that his sketches can preserve their harmonious beauty only through manual work.

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