La Colomba - Jean-Michel Basquiat
Giclée de archivo
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Pago seguro
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Descripción
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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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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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