This Mini Art Print with passe-partout after the Hundertwasser's painting "YELLOW HOUSES - IT HURTS TO WAIT WITH LOVE IF LOVE IS SOMEWHERE ELSE" (oeuvre 630) is a 5-colour offset print on 300 g/sqm matt coated paper. In a further finishing step red glossy-foil is embossed.

Hundertwasser comment about the work:

"When you mix architecture with love, you get box houses-of-cards with yellow hot-water-bottle windows. In every window a blue tear. The red tower is located at Vienna's West Train Station. Near it is where she lived. Plattensteiner, my astrologer, said I should paint a lot when I am unhappily in love, especially then. Later I would not get around to it."

(from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 507)

Format with passe-partout: 40 x 30 cm / 11.8" x 11.8"
Image format:  ca. 21 x 21 cm / 8.2" x 8.2"
Print: 5-colour offset print on 300 g/sqm matt coated paper
Processing: silver, blue and green glossy-foil embossings
Made in Germany
Manufacturer: Wörner Verlag GmbH

This Mini Art Print with passe-partout after the Hundertwasser's painting "THE BIG WAY" (oeuvre 224) is a 5-colour offset print on 300 g/sqm matt coated paper. In a further finishing step gold glossy-foil is embossed.

Hundertwasser comment about the work:

„Because of the human scale of this spiral, it seems like a human trap of sorts. I started out exactly in the middle, pushing the spiral a bit further outward each day. The complementary colors red and blue make for a powerfully vibrating tonality. The open spaces within the spiral have been filled in with small fields that add up to form a cross within the spiral. I also had in mind the circular form of hopscotch that kids play and that's called "Snail's Hopscotch" in German (the French call it jeu d'oie). You start hopping and gradually move toward the center, until you miss a field and have to start all over again. You advance and are forced to retreat, just like in real life. Compared to the other images, this one allows for an additional way of viewing, as you do not have to look at it as a whole. Starting in the middle you can follow the entire course of the spiral with your finger or your eyes and become aware of how narrow the path often gets, how its colors change and what obstacles there are on the way. In order to follow the course mechanically you need to allow yourself several minutes at least. Among other things, you will arrive at bulges that seem like lakes or clearings. At the same time, the whole thing resembles a giant coiled-up snake that is digesting a few living beings it has just swallowed. The image is also likely to induce a feeling of dizziness in the viewer. When viewed from a distance, the image as a whole becomes the inside of a long hose seen in perspective, that leads into the blue sky. (Hundertwasser, 1955) My most significant spiral painting. I always wanted to place it next to the painting "The Kiss" by Klimt, which is also square, to compare the two. The red and blue spiral ribbons shimmer. It is often used for meditative purposes. So many stories have been associated with this painting. When it was exhibited as a major work in the Salon de Mai of 1956 in Paris, the sculptor Cesar showed me his work, an automobile crushed to a cube.“

(from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 291)

Format with passe-partout: 30 x 30 cm / 11.8" x 11.8"
Image format:  ca. 21 x 21 cm / 8.2" x 8.2"
Print: 5-colour offset print on 300 g/sqm matt coated paper
Processing: golden glossy-foil embossings
Made in Germany
Manufacturer: Wörner Verlag GmbH

This Mini Art Print with passe-partout after the Hundertwasser's painting "RAIN OF BLOOD DROPPING INTO JAPANESE WATERS LOCATED IN AN AUSTRIAN GARDEN" (oeuvre 475) is a 5-colour offset print on 300 g/sqm matt coated paper. In a further finishing step glossy-foil is embossed.

Hundertwasser comment about the work 475 "RAIN OF BLOOD DROPPING INTO JAPANESE WATERS LOCATED IN AN AUSTRIAN GARDEN"

"The biggest picture I painted in Japan. I lived in a ryokan, a traditional Japanese inn, with armchairs without legs, a low table, only about high enough (approx. 40 cm) to stretch your legs through or to sit cross-legged before it or in a Roman reclining position on one's elbows. The floor was covered by tatami mats. The painting was on the little table, which was only about 70 cm square, and stuck far out in the room. As it was a difficult physical undertaking to stand up and paint at another point in the picture, I turned the painting horizontally around its midpoint and painted as far as the arm could reach. Thus the structural composition of the painting came about in a perfectly natural way and of itself, with a blue lake in the centre and a garden fence on the edge."

(from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, p. 412)

Format with passe-partout: 40 x 30 cm / 15.7" x 11.8"
Image format:  ca. 28 x 21 cm / 11.0" x 8.2"
Print: 5-colour offset print on 300 g/sqm matt coated paper
Processing: red glossy-foil embossings
Made in Germany
Manufacturer: Wörner Verlag GmbH