Hundertwasser painted wherever he was, at home, in nature and on the road, in cafés and restaurants, on the train or on aeroplanes, in hotels or at the homes of friends or acquaintances he was visiting. He had no studio and did not paint at an easel, but instead spread the canvas or sheet of paper flat in front of him. When he was on the road it could happen that he folded the paper, painting only on the visible part of his work. He either took his paintings on trips, or he left them at his places of residence and continued to paint them as soon as he returned.
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Hundertwasser made many of his paints himself. He painted with watercolours, in oil and with egg tempera, with shiny lacquers and ground earth. He used various paints in one painting and put them next to each other, so that they contrasted not only in their colour but also in their texture. The “chassis” for his paintings he usually made himself, and he almost always stretched his own canvas. He experimented with many techniques and invented new ones. He painted on different types of paper, favouring used wrapping papers, which he often mounted onto various supports, such as wood fibreboards, hemp or linen. He painted on found materials, for example on pieces of plywood, which he fitted together.
Almost invariably, Hundertwasser noted on the front or reverse of his paintings where and when he painted them. The technical information about the work and the date he noted on labels applied to the reverse.
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Hundertwasser can be considered a "colourist" painter, as colour is an essential - if not overriding - element of all his work. He used highly saturated colours regardless of subject matter. He often painted while "on the road", using a pocket watercolour box or powdered pigments. He also frequently employed egg tempera, adding metallic dust, cloth or paper fragments, soil, ground glass, or pottery, and finishing the piece with a thin glaze of oil.
The wide range of objects Hundertwasser designed, including wall calendars, editions of the bible and the Brockhaus encyclopaedia, wrist watches, china, and writing paper, made him an omnipresent representative of applied arts in the truest sense. Hundertwasser’s works were influenced by the English “Arts and Crafts Movement” of the 19th century, as well as the Jugendstil style of the “Wiener Werkstätten” at the beginning of the 20th century.
"A world full of colour" he said, "is synonymous with paradise", a maxim that characterised the whole of the artist's architectural work. Hundertwasser's revolutionary architectural ideas include topping buildings with trees and areas where animals can graze, and creating floor surfaces that are unlevel. Hundertwasser designed many buildings across Austria including museums, schools, churches, and the Rogner Bad Blumau hotel and spa.
HUNDERWASSER’S ORIGINAL GRAPHIC WORKS
Hundertwasser mastered and initiated many innovations in graphic techniques, as in lithograph, silk screen, etching, colour woodcut and mixed media.
Already in the first serigraphies he used metal foil embossing and fluorescent colours. Through a sophisticated reproduction technique as well as through manual reworking a variety of new expressive possibilities and image effects could be achieved.
He was one of the first to demand and practice complete transparency of information about technique, dates of creation, publisher, editions and variations for each sheet.
Hundertwasser never really created large editions of one and the same original graphic work. His graphic editions comprise several colour versions and variants, which are not numbered as separate editions, but instead numbered throughout the entire edition.
It was Hundertwasser’s aim to make many different unique pieces within the art of the graphic, in his aspiration to overcome the chain production by the machine, to produce creative individuality thereby going beyond machine reproduction.
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