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  • Jean-Michel Basquiat Untitled (Head)

    At the age of 7,  Jean-Michel Basquiat was hit by a car while playing in the street. Recovering from his severe injuries in hospital, his mother gave him a copy of Gray’s Anatomy, the famous medical textbook. From the pages of this classic, Basquiat would forever be fascinated by the complex internal construction of the human body, in contrast to its more mundane outward appearance. In Untitled (Head), the artists fascination with the juxtaposition of the interior against the exterior is clear.

    Basquiat used social commentary in his paintings as a "springboard to deeper truths about the individual." Many of his figures allude to inner turmoil being released and shown outwardly to the world. He said “I don’t think about art when I’m working. I think about life."

    Basquiat first achieved notoriety as part of SAMO©, an informal graffiti duo who wrote enigmatic epigrams in the cultural hotbed of the Lower East Side of Manhattan during the late 1970s where the hip hop, post-punk, and street art movements had coalesced. By the 1980s, he was exhibiting his neo-expressionist paintings in galleries and museums internationally. In his short and largely troubled life, Jean-Michel Basquiat nonetheless came to play an important and historic role in the rise of Punk Art and Neo-Expressionism in the New York art scene.

    Untitled (Head) is an original Screen print on paper from an edition of 85. Untitled (Head) is signed and dated by the executor of the estate to the verso ‘Gerard Basquiat 11-19-01”. For more information about Jean-Michel Basquiat or Untitled (Head) please contact the gallery. SOLD.

    • Roy Lichtenstein Refections on Soda Fountain

       Reflections on Soda Fountain by Roy Lichtenstein is an example of one of his screen prints based off of an image from a comic strip. In the screen print, Lichtenstein adds the stripes of white streaks that cut diagonally across the image. This added element makes it seem like it is a page torn out of a book. 

      When interpreting a Lichtenstein, it is best to focus on the irony of the imagery and how it is combined with formal artistic mastery. In interviews, Lichtenstein was always hesitant about explaining the meaning of his work. Possibly the nearest he got was to say, “I take a cliché and try to organize its forms to make it monumental… The difference is not often great, but it is crucial.” It was clear Lichtenstein had a deep love for visual arts and classical works. When he wasn’t painting scenes from comics, he was inspired by paintings from art history. 

      In an interview touring the Metropolitan Museum of Art, Lichtenstein demonstrated his deep knowledge for formal artistic theory while he reflected on the old masters and works. ”Matisse is very great -- I don't mean to put him down -- but Picasso's colors are even more daring, wild and strong. Not wild like the German Expressionists, who painted figures green. Picasso's colors grew inevitably out of his style. And he seemed to understand art so fundamentally that he could generate wholly different styles, each of which had its own particular tonality.”

      Reflections on Soda Fountain is an original screenprint on Rives BFK paper and is referenced in Corlett 257. Reflections on Soda Fountain is hand signed in pencil. For more information about Roy Lichtenstein or Reflections on Soda Fountain please contact the gallery. Call For Value.


      • Joan Miro Série Noire et Rouge

        Série Noire et Rouge (The Black and Red Series) by Joan Miró is a departure from his earlier, more whimsical work. The entire Black and Red Series is as a quintessential response to the social and political upheavals of the Spanish Civil War; a telling demonstration of the role of technique in artistic expression. The etchings were a pivotal stage of iconographic development in Miró’s visual language.

        Despite the intimate scale of its composition, Série Noire et Rouge communicates a gripping power and visual complexity. The style and symbolism that is recognizably Miró is present in this series, but the childlike brightness is replaced by distress and anxiety. The colors are piecing and suggest violence. Miró said his works of this period “…mark the beginning of cruel and difficult years that the world lived through.”

        The Spanish Civil War began in 1936. In 1938, after years of resistance and war, Miró’s native Catalonia was captured by the nationalist fascists. Spain continued to be under fascist rule for the next 36 years. As Miró stated during this period “We are living through a hideous drama that will leave deep marks in our mind.”

        The Black and Red series shows Miró was a methodical worker who understood printmaking’s potential, not only a childlike genius. The eight compositions of the Black and Red Series show how Miro masterfully used printmaking’s sequencing possibilities. The narrative format suggests an unfolding story, with individual episodes contributing to a dramatic whole. 

        Série Noire et Rouge is an original etching in red and black on Arches paper and is referenced in Dupin 37. Série Noire et Rouge is hand signed in pencil and is an edition of 30. For more information about Joan Miró or Série Noire et Rouge please contact the gallery. Call For Value.

        • Keith Haring Pop Shop IV Plate 1

          Christian mythology clearly had a profound impact on  Keith Haring’s use of angels, devils, madonnas, bleeding hearts, crucifixions and transubstantiations. Figures known as “radiant angels” are featured in the original silkscreen Plate 1 from the Pop Shop IV portfolio. Despite the social activism that is commonly associated with the AIDS and gay rights movement and Haring's artwork, religious symbols were seen in his most famous pieces such as the "Radiant Baby.” 

          Although Keith Haring was raised in a Protestant household, he encountered and voluntarily joined the 1970s "Jesus Movement" in his youth. He remained active in the church until his early teen years. Another explanation for his interest in religious imagery throughout his life could be the emerging tradition of pop artists of the 1980’s, such as Andy Warhol and Jean-Michel Basquiat, to adopt the religious symbols of the religious right in an effort to confront religious sensibilities. 

          Haring's work is also known for its use of graphic, expressive line that capture the essence of urban energy. Lines that depict energized rays emanating from the angels, baby and other figures is a convention of medieval and Renaissance religious painting. For Haring, the lines around a figure indicates many types of energy: physical, auditory, spiritual, or sexual.

           "Art is life and life is art” - Keith Haring

          Plate 1 from the Pop Shop IV portfolio is an original silkscreen. Plate 1 is hand signed in pencil and is number 160 out of an edition 200. For more information about Keith Haring or Plate 1 please contact the gallery. SOLD.

          • Marc Chagall David and Absalom

            Marc Chagall hated being called a “mystic,” and yet, he argued in 1946, “Without a mystical element is there a single great picture, a single great poem or even a single great social movement?" In an age when science reigned — even as a way of thinking about art, particularly with regard to vision and technology — and God had been declared dead by philosophers, Chagall was regularly painting rabbis, crucifixions and other Judeo-Christian subjects.

            The etching David and Absalom depicts David, King of Israel at the throne with his son Absalom. According to the Hebrew Bible, Absalom spent 3 years in hiding for avenenging his sister with the murder of his brother, Amnon. After another 2 years, David finally permitted his son to appear before him. Absalom considered himself the heir to the throne, for now that Amnon was dead, he was the next in line of succession. David, however, had been prophetically informed that his young son Solomon, the son of Bathsheba, would succeed him.

            Absalom rallied the people of Jerusalem and led a revolt against David, but was quickly killed. When David heard that Absalom was killed he greatly sorrowed. "O my son Absalom, my son, my son Absalom! Would God I had died for thee, O Absalom, my son, my son!"

            David and Absalom from the The Bible Etchings is an original etching with watercolor on Arches wove. David and Absalom is fully referenced in Cramer 30, signed “M.CH.” in pencil and is number 62 out of an edition 100. For more information about Marc Chagall or David and Absalom please contact the gallery. Call For Value.