Jean-Michel Basquiat (1960-1988) - Leonardo da Vinci’s...

lotto/jean michel basquiat 1960 1988 leonardo da vincis pBvmTZ4 632998970 / In vendita

lotto/jean michel basquiat 1960 1988 leonardo da vincis pBvmTZ4 632998970

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lotto/jean michel basquiat 1960 1988 leonardo da vincis pBvmTZ4 632998970

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Jean-Michel Basquiat (1960-1988) - Leonardo da Vinci’s...

Photolithography by Jean-Michel Basquiat (*) High-quality reproduction of the work “Leonardo da Vinci’s Greatest Hits” (**) created by Basquiat in 1982. Luxury edition on Monte Carlo high-grade watercolor paper (300 g/m2). Print authorized by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Support dimensions: 50 x 45 cm - Splash dimensions: 40 x 35 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition). The artwork will be carefully handled and packed in reinforced cardboard packaging. Shipping will be tracked with a certified number, operated by the leading transport companies. The shipment will also include full insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Jean-Michel Basquiat was the eldest of the three children of Matilde Andrades and Gerard Basquiat. His father was a financially solid Haitian accountant and his mother a Puerto Rican graphic designer of great prestige in her profession. Jean-Michel grew up in a troubled family environment; his parents divorced and he had to change schools many times. He studied at a private Catholic school, then a public school and finally, at 16, he entered City-As-School, a school for exceptionally bright adolescents, from which he was expelled, for rebelliousness, a year before graduating. Already in his youth he came into contact with the subculture of the big city, associated with drug use and street gangs. In 1977, together with Al Díaz, he entered the world of graffiti, painting on subway cars and in the SoHo area, a New York neighborhood where art galleries proliferate. The following year he left school one year before finishing high school and left home to live for two years on the streets, in abandoned buildings or with his friends in Lower Manhattan, surviving by selling postcards and t-shirts that he himself decorated. He continued to devote himself to graffiti; his paintings and writings carried a lot of poetic and philosophical charge, but above all satirical. The alias of his alter ego shared with Al Díaz was SAMO (short for “Same Old shit,” i.e., “the same old crap,” with which they signed their tags and graffiti with cryptic messages). The use of this name was decisive in his life. These murals carried inscriptions like “SAMO saves idiots” or “SAMO puts an end to religious brainwashing, the politics of nothingness and false philosophy.” An article about SAMO’s street writing published in The Village Voice was the first sign that the art world was taking an interest in him. The artist had several relationships that influenced his work; one of the most significant was with artist Andy Warhol. Also, romantically, he was involved with several women; one of the best known today was Madonna. Lower Manhattan was the area where they lived at that time, and in 1982 they began to spend more time together and go to parties in galleries. A topic that united them, she mentions in an interview: “I was a big fan of Miles Davis and Charlie Parker.” In 1988 exhibitions were installed in Paris and New York, and in April of that year he tried to abandon his addictions and retired to his home in Hawaii. He returned to New York in June, announcing that he had freed himself from addictions, but on August 12, 1988, at 27 years old, he died of a heroin overdose, becoming the most successful visual artist in the history of African-descendant art. He is buried in Green-Wood Cemetery, Brooklyn. Throughout his brief but intense artistic career he would hold more than 40 solo exhibitions and participate in around 100 group shows. Self-promotion and publicity were priorities for Basquiat, as they had been for Andy Warhol or Julian Schnabel before him. Neo-expressionism came to dominate over appropriationism, partly thanks to the economic boom that raised art prices and, especially, painting, and partly thanks to the support of galleries and collectors. However, critics were not unanimous in their assessment, and it was common to accuse neo-expressionist discourse of lacking theoretical grounding. It was claimed that the art practiced by neo-expressionists lacked any political or social meaning, was simply merchandise, and thus subject to market fluctuations. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively disqualified and vulgar fait. (**) No subject is more powerful or coveted in Jean-Michel Basquiat’s (1960-1988) work than the singular skull. For this enigmatic artist, the human head was more than an obsession. As suggested by the title of “In This Case” (1983), the head is a box or cage that houses a gear-like machine full of impulses and ideas. This work ranks among Basquiat’s greatest achievements: a cranial abyss into which the artist has poured the contents of his visual imagination, merging centuries of stylistic influence. “In This Case” is one of the three monumental skulls Basquiat painted. The painting’s intensity and immediacy are unrivaled in Basquiat’s work.

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