1993.10.25 - 11.13
Hans Hinterreiter Exhibition

Hans Hinterreiter Portrait
Hans Hinterreiter Portrait
OPUS 12 / tempera / 38.4×29.2cm / 1952
OPUS 12 / tempera / 38.4×29.2cm / 1952


In 1993, the artist’s first exhibition in Japan titled “HANS HINTERREITER” was held at HIRO GALLERY GINZA, TOKYO. Born in Switzerland 1902, Hinterreiter made acrylic paints, tempera, prints and so on using geometrical sequential forms derived from numerical formulas. He had been on friendly terms with Max Bill, the same Swiss artist, and passed away in 1989.


A big traveling exhibition in various countries in Europe, 1977 and an exhibition in 1988 produced by Thomas M. Messer, the director of The Solomon R. Guggenheim Foundation at the that time were held. After his death, Hans Hinterreiter Foundation was established in Zurich.


Some of the comments on the catalogue of HANS HINTERREITER EXHIBITION are below.


<Max Bill>

“In the work of Hans Hinterreiter it is, however, precisely the everchanging possibilities that make for the indisputably high quality of independent invention and rich personal creative power, more can hardly be expected from a work of art, particularly from a work opposed to many a contemporary, often fashion-bound, movement.”


<Thomas M. Messer(Director Emeritus, The Solomon R. Guggenheim Foundation)>

…Forms approximating concentric circles, star-configurations that interlock or are rhythmically disposed parallel to one another, rectangular, circular or semicircular formats or formats that combine these shapes within reasoned color schemes make up complex compositions that are invariably orderly, harmonious and beautiful.

Such effects in the case of Hans Hinterreiter are far from accidental, indeed they are the deliberate objective of his creative search. For he belongs among those who, like Goethe’s Faust, strive to comprehend the world’s innermost nature and therefore see the artist’s function as one thatseeks to penetrate beyond appearances into the regions governed by hidden laws…


<Dr. Robert Steven Bianchi(Curator, The Metropolitan Museum of Art, New York)>

…In many ways, therefore, Hinterreiter’s work is revolutionary because it paves the way for other more progressive artists to collaborate with computer specialists in order to create mathematically based artistic compositions which integrate into their works either analog or digital forms of music. In this way, Hinterreiter may well be regarded as the “father” of computer art…

…The very best qualities of Hinterreiter’s lithographs are inherent OPUS 12 (1952), a work on paper. The fine craftsmanship of this particular lithograph has been long recognized and the print itself has been repeatedly illustrated in many books articles about Hans Hinterreiter. The work is important because it had been described by Hinterreiter in terms of the values he assigned to colors. Specifically he referred to this work as “Geometrischer Schonheit Opus 12” (Geometric Beauty, Work 12) and characterized its colors as Yellow 900, Red 090, Blue 009, and Auto Black 0. Each of these designations are keyed to his encoded cryptographic system which can be related to his desire to link art with music...


To the artist’s page






















  • ハンス・ヒンターライター肖像
  • OPUS 12 / テンペラ  / 38.4×29.2cm / 1952年