Friedensreich Hundertwasser:
12 Part Set for 4 People, Version "Onionraindome" and "Antipodes"


Friedensreich Hundertwasser:
12 Part Set for 4 People, Version "Onionraindome" and "Antipodes"

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Porcelain | Handmade | Decorated by hand | Work title | Signature | Tettau-Löwe | Plate Numbered | Dishwasher safe | Dimensions Ø 23, 28 + 34 cm | Weight each 1,4 kg | 12-part set for 4 people

Friedensreich Hundertwasser: 12 Part Set for 4 People, Version "Onionraindome" and "Antipodes"

The motif is based on Hundertwasser's work of art 877 "Onionraindome and Tears". Onion towers are characteristic elements in Hundertwasser's architecture and can also be found in many paintings. "Architecture should elevate man, not humiliate, oppress and enslave him. A golden onion tower on your own house elevates the resident to the status of a king." In Onionraindome and Tears architecture and nature are combined. Rain symbolizes the natural element. The motif "The Antipodes" is based on Hundertwasser's work of art 928B "Antipode King". In geographical terminology antipode describes a person who lives diametrically opposite to a place on earth. The origin of the term is from Greek language and means people with feet on their heads. The Antipodes Islands are a small group of islands near New Zeland, which are diametrically opposite to Greenwich. The name for the soup plate is derived from Maori language, "Kopu" means Morning star. The name for the dinner plate is also derived from Maori language, "Ao Tea Roa" or "Land of the long white cloud" is the Maori's name for their home. 3 part set consisting of 4 soup plate "Kopu", 4 dinner plate "Ao Tea Roa" and 2 charger plate each of "The Antipodes" and "Onionraindome". The soup plates and the dinner plates were decorated by hand in 18 colours as well as embellished with gold and platinum details. Six-times fired at 1200° Celsius. "Kopu": Diameter each 23 cm. "Ao Tea Roa": Diameter each 28 cm. Charger plate "Onionraindome": made from 24 carat gold in two colour variations. Work number PM VIII. According 877 "Zwiebelregenturm und Tränen". Charger plates "The Antipodes" were designed in 18 colours with high fire burnished gold and platinum. Work number PM VII. According 928B "König der Antipoden". The base of the charger plates is designed in the form of a Hundertwasser spiral. Two-times fired at 1200° Celsius. Diameter each 34 cm. Weight per plate 1,4 kg. All plates are dishwasher proof. Work title, Hundertwasser signature and Tettau Lion on backs of each plate. Each charger plate is also individually numbered by hand. Copyright NAMIDA AG, 2007. The displayed works of art are protected under the copyright. In particular, it is not permitted to reproduce, to alter, to print or to publish these works of art. Violations will be prosecuted according to civil and criminal law.

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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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