Synopses & Reviews
"The straight line is godless": A vivid portrait of the artist and his art "If you and your neighbour are creative,
we need not travel far.
We need not walk far,
because paradise is
right around the corner."
—Hundertwasser
Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser’s work in all of its different facets is guided by the artist’s own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader’s eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.
Synopsis
"The straight line is godless" A vivid portrait of the artist and his art "If you and your neighbour are creative,
we need not travel far.
We need not walk far,
because paradise is
right around the corner."
--Hundertwasser
Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.
About the Author
Harry Rand studied at the City College of New York and at Harvard University, where he completed his doctorate on the iconography of Arshile Gorky in 1974. He has published numerous books and essays on 20th century painting and sculpture and is now Senior Curator of Cultural History at the National Museum of American History (Smithsonian Institution).