Jean-Michel Basquiat (1960-1988) - Sienna - Giclée...

Giclée Impression (*) of Jean-Michel Basquiat (**) High-quality reproduction of the work “Sienna,” created by Basquiat in 1984. Luxury edition on Monte Carlo high–gSM weight watercolor paper (300 g/m2). Impression authorized by Artestar New York. Copyright of the Estate of Jean-Michel Basquiat. Includes Certificate of Authenticity (COA). Specifications: - Canvas dimensions: 50 x 45 cm - Stain dimensions: 40 x 35 cm - Condition: Excellent (this work has never been framed or exhibited, and has always been stored in a professional art folder, so it is offered in perfect condition). The artwork will be carefully handled and packed in a reinforced flat carton package. Shipping will be certified with a tracking number, operated by leading transport companies (UPS DPD DHL FedEx). Shipping 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. (*) Giclée is a term referring to a high-quality fine art print produced digitally with inkjet printers. This process uses pigment-based inks and specialized papers to achieve great sharpness, color accuracy, and durability, ideal for art and photograph reproductions. (**) Jean-Michel Basquiat was the eldest of the three children of Matilde Andrades and Gerard Basquiat. His father was a respectable financially solvent Haitian accountant and his mother a Puerto Rican graphic designer of high prestige in her profession. Jean-Michel grew up in a troubled family environment; his parents divorced and, due to this situation, he had to change schools many times. He studied at a private Catholic school, later at a public school, and finally, at 16, he entered City-As-School, a school for gifted teens, from which he was expelled, out of defiance, a year before graduating. Already in his youth he came into contact with the city’s subculture, linked to drug use and street gangs. In 1977, together with Al Díaz, he entered the world of graffiti, painting on subway cars and around the SoHo area, a New York neighborhood where art galleries proliferate. The following year he left school one term before graduating from high school and left home to live for two years on the streets, in abandoned buildings or with friends in Lower Manhattan, surviving by selling postcards and T-shirts that he himself decorated. He continued to practice graffiti; his tags 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 bore inscriptions such as “SAMO saves idiots” or “SAMO ends religious brainwashing, the politics of nothing, and fake 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. Likewise, 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; it was in 1982 when they began spending more time together and going to parties in galleries. A shared interest was that she mentions in an interview: “I was a big fan of Miles Davis and Charlie Parker.” In 1988 he had exhibitions in Paris and New York, and in April of that same year he tried to overcome his addictions and retreated 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 the age of 27, 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, in Brooklyn. Throughout his short but intense artistic career he held more than 40 solo exhibitions and participated in around 100 group shows. Self-promotion and advertising appeal were priority factors for Basquiat, as they had previously been for Andy Warhol or Julian Schnabel. Neo-expressionism came to dominate over appropriationism, partly thanks to the economic upturn that elevated art prices to high levels, especially painting, and partly thanks to the support of gallery owners and collectors. The critics, however, were not unanimous in their assessment, and it was common to denounce the lack of theoretical grounding in neo-expressionist discourse. It was claimed that the art practiced by neo-expressionists lacked any political or social meaning, it was only merchandise and, therefore, subject to market fluctuations. Neo-expressionist painting remained a consumer product and, as such, a creatively disqualified and vulgar fact.

Stima:€150

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