Jean-Michel Basquiat (1960-1988) - In Italian - Giclée...

Giclée print (*) by Jean-Michel Basquiat (**) High-quality reproduction of the work “In Italian,” created by Basquiat in 1983. Luxury edition on Monte Carlo high-gram 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 - Spot 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 packaged in a reinforced flat cardboard package. Shipping will be traceable and certified, carried out by leading transportation companies (UPS DPD DHL FedEx). The shipment will also include full insurance for the final value of the artwork 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 created digitally with inkjet printers. This process uses pigment-based inks and specialized papers to achieve great sharpness, true color, and durability, ideal for reproductions of artwork and photographs. (**) Jean-Michel Basquiat was the eldest of the three children of Matilde Andrades and Gerard Basquiat. His father was a Haitian accountant of respectable financial means, and his mother a Puerto Rican graphic designer of great prominence in her profession. Jean-Michel grew up in a torn family environment; his parents divorced and, due to this, he had to change schools many times. He studied at a private Catholic school, then at a public school and finally, at 16, enrolled in City-As-School, a school for gifted teenagers, from which he was expelled a year before graduating, due to rebellious behavior. In his youth he came into contact with the urban subculture of the big city, linked to drug use and street gangs. In 1977, together with Al Diaz, he entered the world of graffiti, painting on subway cars and in the SoHo area, a Manhattan neighborhood where art galleries flourish. A year later he left school a year 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 devote himself to graffiti; his writings and tags carried a lot of poetic and philosophical weight, but above all satirical. The pseudonym of his alter ego shared with Al Diaz was SAMO (short for “Same Old Shit,” i.e., “the same old crap,” with which they both signed their tags and graffiti with cryptic messages. The use of this name was decisive in his life. These murals bore inscriptions like “SAMO saves idiots” or “SAMO ends 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 being with artist Andy Warhol. Likewise, emotionally, he had relationships with several women; one of the most well-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 attend gallery parties. One theme that united them, she mentions in an interview: “I was a big fan of Miles Davis and Charlie Parker.” In 1988 they toured exhibitions in Paris and New York, and in April of the same year he attempted 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 Afro-descendant art. He is buried in Green-Wood Cemetery in 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 priority factors for Basquiat, as they had been for Andy Warhol or Julian Schnabel before him. Neo-expressionism gradually displaced appropriationism, partly thanks to the economic strength that raised art prices to high levels and, in particular, painting prices, and partly thanks to the support of gallery owners and collectors. However, criticism was not unanimous in its assessment, and it was common to denounce the lack of theoretical basis in neo-expressionist discourse. It was argued that the neo-expressionist art they practiced lacked any political or social meaning, was merely merchandise, and therefore subject to market fluctuations. Neo-expressionist painting was reduced to a consumer product and, as such, a creatively discredited and vulgar fact.

Estimación:€150

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