Three Quarters of Olympia Minus the Servant - Jean-Michel Basquiat
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Beschreibung
A 1982 Neo-Expressionist work by Jean-Michel Basquiat that reinterprets Manet's Olympia through raw, gestural mark-making and layered textual commentary.
Jean-Michel Basquiat produced Three Quarters of Olympia Minus the Servant in 1982, a period during which he engaged frequently with art historical references. The title directly addresses Edouard Manet's 1863 painting, Olympia. By removing the servant figure, Basquiat shifts the focus of the composition, re-evaluating the power dynamics and racial narratives present in the original work.
The visual composition is characteristic of Basquiat's approach, combining raw, gestural mark-making with deliberate textual elements. The canvas features a central figure rendered in a simplified, almost skeletal style, surrounded by blocks of primary colours and scribbled annotations. Phrases such as 'Woman dry her neck' appear alongside references to Edgar Degas, creating a layered dialogue between the artist and his predecessors. The surface is textured, with visible drips and rough application of paint, reflecting the immediacy of his process.
Basquiat often utilised the canvas as a site for social commentary, blending personal observation with broader cultural critique. The inclusion of specific words and symbols functions as a visual shorthand, inviting the viewer to decode the connections between the historical subject matter and the contemporary context of the early 1980s. The work is mounted on wooden supports, a common feature in his practice that emphasises the physical, object-like quality of the painting. This piece demonstrates his ability to deconstruct canonical imagery while maintaining a distinct, aggressive aesthetic that rejects traditional notions of finish or refinement. The interplay of blue, red, and cream tones provides a structural framework for the chaotic arrangement of lines and figures, ensuring the eye moves across the surface to engage with each individual component of the composition.
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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
Three Quarters of Olympia Minus the Servant - 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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