Friedensreich Hundertwasser:
Espresso Cup "In the Meadows"

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Friedensreich Hundertwasser:
Espresso Cup "In the Meadows"

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ars mundi Special Edition | Porcelain | Handmade | Gold and Platinum Plating | Hand Numbered

https://www.arsmundi.com/

Friedensreich Hundertwasser: Espresso Cup "In the Meadows"

Bad Soden am Taunus, 1990-1993. This unique espresso cup collection was produced based on the motifs from Hundertwasser's architectural oeuvre in complex manufactory work in the Royal porcelain factory Tettau and in collaboration with the KunstHausWien exclusively for ars mundi. Porcelain painters made the cups by hand in up to 18 colours, firing them five times at 1.200° C. Real gold plating in up to 3 gold tones and silver polished platinum faithfully reproduce the Hundertwasser's design. The cups are 5 cm high and hold a volume of 0,09 litre, the saucers have a diameter of 12.2 cm. Dishwasher safe. Each cup is numbered by hand. Copyright NAMIDA AG, 2002. 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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