Jean-Michel-Basquiat Untitled 1981 acrylic, spray paint, oilstick and Xerox collage on canvas 122.5 x 152.5 cm. (48 1/4 x 60 in.) Signed and dated '81' on the right overlap. This work is accompanied by a certificate of authenticity from the Estate of Jean-Michel-Basquiat.
Provenance Gracie Mansion Gallery, New York Private Collection, New York Anon. sale, Drouot - C. Charbonneaux, 15 June 1988, lot 39 Private Collection, Europe Christie's London, 'Post-War and Contemporary', 09 February 2005, lot 006 Exhibited New York, Tony Shafrazi Gallery, Four Friends, 25 October 2007 - 12 January 2008 (exhibition extended to 29 February 2008) Literature R. D. Marshall, J.-L. Prat, Jean-Michel-Basquiat, Galerie Enrico Navarra, Paris, 1996, vol. II, p. 62, No. 10 (illustrated) R. D. Marshal, J.-L. Prat, Jean-Michel-Basquiat, Galerie Enrico Navarra, Paris, 2000, 3rd ed., p. 86-87, No. 10 (illustrated) Catalogue Essay “His early paintings manifest the same immediacy and speed with which Basquiat executed his graffiti on buildings.” JEAN-MICHEL-BASQUIAT The human figure is a central and reoccurring theme throughout Basquiat’s oeuvre; it provided the perfect vehicle for merging autobiography with references to popular culture and African-American history. The present lot, Untitled, executed in 1981, depicts the upper torso of an anonymous figure. Painted in Basquiat’s archetypal naïve style, the figure disproportionate in nature and loosely representing the true human form dominates the centre of the composition. Basquiat’s unmistakable style is visible throughout, particularly his bravura handling of the scarlet red, gun metal grey and fluorescent yellow colour-fields, making him an obvious advocate of Abstract Expressionism. Further, the use of spray paint resulting in energetic and urban infused lines, most visibly to the hand and halo area, expands upon Cy Twombly’s style, which Basquiat directly cited as being a great influence. Additionally, the viewer receives an insight into Basquiat’s prior years as a graffiti artist in downtown Manhattan under the pseudonym, SAMO. The face itself is typically crude, void of distinct features, a primitive mask-like rendering with an uncomfortably large circular mouth and sharp eyes offering a disconcerting glimpse into the troubled mind of the young artist. Yet, the figure is somewhat heroic, regal and commanding, indentifying with Basquiat’s powerful artistic talent, going up against the predominantly white world of the art establishment. 1981, the year the present lot was executed, is widely regarded at Basquiat’s greatest year of output. This was the year he made the transition from the streets to the studio. At the beginning of his ephemeral career, he was uncorrupted by art world politics, personal fame and addiction; these early works married the gritty urbanism of his street graffiti with his raw guttural symbolism. Basquiat grew up as part of a middle-class family in Brooklyn to Haitian and Puerto Rican parents. In the late 1970s he left home and took to the streets of Manhattan, making his mark as a graffiti artist. He soon began to attract attention and in September 1981 he was invited to join Annina Nosei Gallery and occupy her basement as his studio. It was this period, in Annina Nosei’s basement, that he produced Untitled, and many of his greatest masterpieces. In December 1981, Basquiat was brought to international attention when Artforum published Rene Richard’s ‘The Radiant Child’ article. He has gone from an unknown graffiti artist to receiving international recognition in one year, an unparalleled rise through the art world echelons. Basquiat declared that ‘the black person is the protagonist in most of my paintings’ (Quoted in H. Geldzahler, ‘Art: From the Subways to Soho, Jean-Michel-Basquiat,’ Interview, January 1983). Although the figure in the present lot is anonymous, he stands as a celebration of African-American achievements in a white dominated society. Basquiat celebrated many African-American luminaries in his work, particularly musicians and athletes such as, Charlie Parker, Joe Louis and Sugar Ray Leonard; the few professions African-American’s were able to excel in. In Untitled, the figure has an elongated right arm; the hand is open reve
Jean-Michel-Basquiat Untitled 1981 acrylic, spray paint, oilstick and Xerox collage on canvas 122.5 x 152.5 cm. (48 1/4 x 60 in.) Signed and dated '81' on the right overlap. This work is accompanied by a certificate of authenticity from the Estate of Jean-Michel-Basquiat.
Provenance Gracie Mansion Gallery, New York Private Collection, New York Anon. sale, Drouot - C. Charbonneaux, 15 June 1988, lot 39 Private Collection, Europe Christie's London, 'Post-War and Contemporary', 09 February 2005, lot 006 Exhibited New York, Tony Shafrazi Gallery, Four Friends, 25 October 2007 - 12 January 2008 (exhibition extended to 29 February 2008) Literature R. D. Marshall, J.-L. Prat, Jean-Michel-Basquiat, Galerie Enrico Navarra, Paris, 1996, vol. II, p. 62, No. 10 (illustrated) R. D. Marshal, J.-L. Prat, Jean-Michel-Basquiat, Galerie Enrico Navarra, Paris, 2000, 3rd ed., p. 86-87, No. 10 (illustrated) Catalogue Essay “His early paintings manifest the same immediacy and speed with which Basquiat executed his graffiti on buildings.” JEAN-MICHEL-BASQUIAT The human figure is a central and reoccurring theme throughout Basquiat’s oeuvre; it provided the perfect vehicle for merging autobiography with references to popular culture and African-American history. The present lot, Untitled, executed in 1981, depicts the upper torso of an anonymous figure. Painted in Basquiat’s archetypal naïve style, the figure disproportionate in nature and loosely representing the true human form dominates the centre of the composition. Basquiat’s unmistakable style is visible throughout, particularly his bravura handling of the scarlet red, gun metal grey and fluorescent yellow colour-fields, making him an obvious advocate of Abstract Expressionism. Further, the use of spray paint resulting in energetic and urban infused lines, most visibly to the hand and halo area, expands upon Cy Twombly’s style, which Basquiat directly cited as being a great influence. Additionally, the viewer receives an insight into Basquiat’s prior years as a graffiti artist in downtown Manhattan under the pseudonym, SAMO. The face itself is typically crude, void of distinct features, a primitive mask-like rendering with an uncomfortably large circular mouth and sharp eyes offering a disconcerting glimpse into the troubled mind of the young artist. Yet, the figure is somewhat heroic, regal and commanding, indentifying with Basquiat’s powerful artistic talent, going up against the predominantly white world of the art establishment. 1981, the year the present lot was executed, is widely regarded at Basquiat’s greatest year of output. This was the year he made the transition from the streets to the studio. At the beginning of his ephemeral career, he was uncorrupted by art world politics, personal fame and addiction; these early works married the gritty urbanism of his street graffiti with his raw guttural symbolism. Basquiat grew up as part of a middle-class family in Brooklyn to Haitian and Puerto Rican parents. In the late 1970s he left home and took to the streets of Manhattan, making his mark as a graffiti artist. He soon began to attract attention and in September 1981 he was invited to join Annina Nosei Gallery and occupy her basement as his studio. It was this period, in Annina Nosei’s basement, that he produced Untitled, and many of his greatest masterpieces. In December 1981, Basquiat was brought to international attention when Artforum published Rene Richard’s ‘The Radiant Child’ article. He has gone from an unknown graffiti artist to receiving international recognition in one year, an unparalleled rise through the art world echelons. Basquiat declared that ‘the black person is the protagonist in most of my paintings’ (Quoted in H. Geldzahler, ‘Art: From the Subways to Soho, Jean-Michel-Basquiat,’ Interview, January 1983). Although the figure in the present lot is anonymous, he stands as a celebration of African-American achievements in a white dominated society. Basquiat celebrated many African-American luminaries in his work, particularly musicians and athletes such as, Charlie Parker, Joe Louis and Sugar Ray Leonard; the few professions African-American’s were able to excel in. In Untitled, the figure has an elongated right arm; the hand is open reve
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