Keith and Julia - Keith Haring
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Beschreibung
A striking graphic composition by Keith Haring, featuring two figures rendered in his signature linear style against a bold yellow background.
Keith Haring, a central figure in the 1980s New York art scene, developed a visual language rooted in the immediacy of street art and graffiti. His work often features bold, black outlines and a restricted palette, which he used to communicate universal themes. In this piece, the figures are constructed from a dense network of lines, suggesting a mechanical or circuit-like quality that deviates from his more common, simplified silhouettes.
The composition presents two heads in profile, facing one another. The lines create a sense of texture and depth, filling the forms with rhythmic patterns that echo the energy of urban life. Haring frequently employed this method to explore the intersection of human identity and the technological environment of the late twentieth century. The background, a flat field of yellow, provides a stark contrast to the dark, linear forms of the subjects. A red circular shape and blue organic form sit between the figures, acting as non-representational elements that balance the visual weight of the composition.
This work demonstrates Haring's ability to merge graphic design sensibilities with fine art practices. By stripping away unnecessary detail, he focuses the viewer on the interaction between the two subjects. The use of primary colours and high-contrast lines is characteristic of his approach to making art accessible to a wide audience. While his career was brief, his output remains a significant record of the social and artistic climate of 1980s Manhattan. This print captures the energy and graphic precision of his original painting, maintaining the clarity of his line work and the impact of his colour choices.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Keith and Julia - Keith Haring
Artist Biography
Keith Haring
He moved to New York in 1978 to attend the School of Visual Arts and within two years had found his medium: white chalk on the matte black paper that covered unused advertising panels in subway stations. He drew in the stations almost every day between 1980 and 1985, sometimes producing forty drawings in a single session. Commuters watched. The police arrested him repeatedly for vandalism. The drawings kept appearing.
The subway work made him famous before galleries did. Radiant babies, barking dogs, crawling figures, flying saucers: a vocabulary of shapes repeated and recombined like a visual language. The line work was fast and confident and looked easy, which was part of the point. He wanted art that anyone could read immediately. In 1986 he opened the Pop Shop in SoHo, selling t-shirts, posters, and badges with his designs at prices people could actually pay. The art world called it selling out. Andy Warhol, who had been doing exactly the same thing for twenty years, supported him.
He was diagnosed with HIV in 1987 and with AIDS the following year. The last works are direct: the 'Ignorance = Fear' poster for ACT UP, the Barcelona mural 'Todos Juntos Podemos Parar el SIDA', the horned sperm figure that became his symbol for the virus. He set up the Keith Haring Foundation in 1989 to fund AIDS organisations and children's programmes. He died in February 1990, at thirty-one. He was cremated and his ashes were scattered in a field near Kutztown, close to where he first sat drawing with his father.
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