La Colomba - Jean-Michel Basquiat
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Beschreibung
A 1983 work by Jean-Michel Basquiat, featuring a mask-like figure contrasted against a field of schematic drawings and text.
Jean-Michel Basquiat produced La Colomba in 1983, a period during which his work frequently incorporated fragmented text, anatomical references, and a raw, gestural application of paint. The composition is divided into two distinct sections, joined by blue tape, which creates a sense of structural tension. On the left, a large, mask-like head dominates the blue field. The face is rendered with a mix of skeletal features and expressive, distorted anatomy, typical of the artist's interest in the human form as a site of social and personal inquiry.
The right side of the canvas shifts in tone, featuring a lighter, off-white background covered in dense, schematic drawings. These marks resemble technical diagrams or shorthand notes, reflecting the artist's practice of integrating urban ephemera and street-level observations into his studio work. The contrast between the bold, dark figure on the left and the intricate, linear notations on the right creates a visual dialogue between the visceral and the intellectual.
Basquiat often utilised oilstick to achieve a direct, immediate quality in his lines. This work displays his characteristic layering, where paint drips and spontaneous marks remain visible, documenting the process of creation. The inclusion of text fragments and symbols invites the viewer to decode the work, though the meaning remains intentionally elusive. By combining elements of graffiti, classical portraiture, and abstract expressionism, Basquiat constructed a visual language that addresses themes of identity and cultural history. The work is a representative example of his ability to balance chaotic energy with deliberate compositional choices, resulting in a piece that maintains a sense of urgency and visual weight.
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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
La Colomba - Jean-Michel Basquiat
Artist Biography
Jean Michel Basquiat
He had no formal art training. He dropped out of school at seventeen and slept on park benches and friends' floors. He sold hand-painted postcards and t-shirts. He gate-crashed a restaurant where the critic Henry Geldzahler was eating with Andy Warhol and handed them a postcard. Warhol bought one. The art world opened.
By twenty-one he was showing in galleries. By twenty-two he was the youngest artist ever invited to Documenta in Kassel. The paintings are dense, layered, furious: text fragments, anatomical drawings, crown symbols, crossed-out words, references to Black history, jazz, boxing, anatomy textbooks, and street signage. They look unplanned but they are not. The crossed-out words are deliberate. He wanted you to read them, then register the erasure.
He and Warhol collaborated on a series of paintings in 1984 and 1985. The relationship was complicated by the art market's tendency to treat Basquiat as Warhol's protege rather than his peer, and by the fact that Warhol, older and more established, got better reviews for the joint work. Basquiat pulled away.
He died of a heroin overdose in 1988, at twenty-seven. His paintings now sell for over 100 million dollars. He would have found that both satisfying and absurd.
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