622
DER NASENBOHRER UND DIE BEWEINUNG EGON SCHIELES
MOURNING SCHIELE
PLEURS POUR EGON SCHIELE
Lugano, 1965
Painted in Paris - Vorchdorf, October 1965 - Lugano, between Christmas and New Year, 1965
1160 mm x 730 mm
Mixed media: PVA, watercolour and oil on paper, primed with chalk and PV; mounted on jute with PV
- Travelling exhibition 1967:
- Galerie Karl Flinker, Paris, 1967
- Hanover Gallery, London, 1967
- Galerie Krugier / Galerie Georges Moos, Geneva, 1967
- Kunstverein Berlin, 1967
- *
- KunstHausWien, Vienna, since April 1991
- Musée des Beaux-Arts et de la Dentelle, Alençon, 2001
- Galerie im Alten Rathaus, Prien am Chiemsee, 2002
- Kunsthal Rotterdam, 2004
- Seoul Arts Center Hangaram Design Museum, Seoul, 2010/11
- Centre de la Vieille Charité, Marseille, 2012
- ARKEN Museum of Modern Art, Ishoj, Denmark, 2014
- Salon de Mai, Paris, and Yugoslavia 1966
- W. Schmied, Hundertwasser, Salzburg, 1974, pl. 88 (c), p. 318
- P. Restany, Hundertwasser, New York, 1978, p. 105 (c)
- J.F. Mathey, Hundertwasser, Munich, 1985 and ed. 1992, p. 39 (c)
- H. Rand, Hundertwasser - Der Maler, Munich, 1986, pl. 88 (c), p. 167
- H. Rand, Hundertwasser, Cologne, 1991, p. 122 (c) and ed. 1993, p. 104 (c)
- Contemporary Great Masters: Hundertwasser, Tokyo 1993, pl. 29 (c), p. 112
- W. Schmied, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2000, Vol. I, pp. 114/115 (and c), 187, 192
- Hundertwasser Portfolio, Cologne, 2001, inside (c, b) and reverse (c)
- A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 500/501 (and c)
- F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 40 (c)
- Galerie Karl Flinker, Paris, 1967 (c)
- Hanover Gallery, London, 1967 (c)
- Galerie Krugier / Galerie Georges Moos, Geneva, 1967 (c)
- Kunstverein Berlin, 1967 (c)
- KunstHausWien, Cologne, 1999, p. 58 (c)
- Musée des Beaux-Arts et de la Dentelle, Alençon, 2001, p. 33 (c)
- Seoul Arts Center Hangaram Design Museum, Seoul, 2010/11, pp. 101 (c), 227
- Kirche zu St. Jakobi, Stralsund, 2011, p. 31 (c)
- Centre de la Vieille Charité, Marseille, 2012, p. 87 (c)
- V. Gamper / H.-P. Wipplinger (ed.), Egon Schiele, Expression und Lyrik, Vienna, 2018, p. 129 (c)
- Protokolle, Vienna, 1968 (c)
- Mizue, Aug. 1969, Tokyo (b)
- Parnass, no. 5, Sep./Oct. 1988, Linz, p. 51 (c)
- Arte, no. 263, June 1995, Milan, p. 73 (c)
- Art Calendar, Hundertwasser 1983, B. Wörner, Gerlingen (October, 52 x 33 cm)
- Hundertwasser Calendar 1989, Verlag Galerie Welz, Salzburg (November)
- Hundertwasser art agenda 1989, caesar Art International, Stuttgart
- Hundertwasser Art agenda 1989, caesar Art International, Stuttgart
- Hundertwasser art agenda 1990, caesar Art International, Stuttgart
- Hundertwasser art clou 1991, caesar Art International, Stuttgart
- Art Calendar 1992: Hundertwasser im KunstHausWien, Brönner Verlag, Frankfurt (58 x 48 cm, March)
- Hundertwasser Calendar 2004, Verlag Galerie Welz, Salzburg
- Hundertwasser 2004 Calendar, Taschen, Cologne
Hundertwasser's comment on the work
Similar to 615 and 623, a kind of self-pity for no particular reason. A house becomes round for no reason. Wispy black clouds cover eyes, nose and mouth. A man in blue sits under a roof picking his nose, which has a lot to do with the penis, of course. Add to that a "dunkelbunt" sky, a conglomeration of chimneys on the yellow roof and windows of blood. What more do you want? (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 500)