Paintings

Hundertwasser in his studio, around 1952
F. Hundertwasser, 460 Hommage au Tachisme, 1961
F. Hundertwasser, 691 Irinaland Over the Balkans, 1969
Film still from Peter Schamoni, "Hundertwassers Regentag", 1972
Hundertwasser in Venice, painting, ca. 1971. Film still from Peter Schamoni, "Hundertwassers Regentag", 1972
Mária Bidelnicová, F. Hundertwasser with his paintings, ca. 1974
The spiral, as I see it, is a vegetative spiral, with swellings, where the lines become thicker and thinner, like the rings of a tree trunk…
Friedensreich Hundertwasser, The Spiral, 1974

A major part of the effect of Hundertwasser's painting is color. Hundertwasser uses colors instinctively, without associating them with any sort of symbolism, either traditional or self-invented. He prefers intense, radiant colors and loves to place complementary colours next to one another to emphasize, for example, the double movement of a spiral. He also likes to use gold and silver foil, which he places directly on to the picture.
Two large groups of motifs determine the content of Hundertwasser's painting. One comprises a world of forms analogous to vegetative growth as animistic nature; the other is the repetitive use of architectural signs: houses, windows, gables, fences, gates, etc. It is one of the idiosyncrasies of Hundertwasser's art that both motif groups are inextricably linked: vegetative forms seem static and solid – like architecture – as if they were meant to last; whereas everything constructed seems to have grown organically and to have been produced by nature herself.
His painting technique is also a very personal affair. Hundertwasser likes best to use paints he has pulverised or prepared himself, and which he then applies without mixing. Similarly, he prepares the priming ground himself; for prime coating, paint mixing and varnishing he has developed various recipes of his own, all of which are designed to guarantee a long life to his pictures.
In many of his works he uses oil, tempera and watercolour techniques in order to achieve a contrasting effect between the matte and radiant parts of the picture.

Wieland Schmied, in: Hundertwasser – KunstHausWien (Cologne, 1999)