Liberty - Jean-Michel Basquiat
Giclée de archivo
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Descripción
A 1982 Neo-Expressionist work by Jean-Michel Basquiat, featuring a dense, layered composition of anatomical diagrams, economic references, and raw, graffiti-inspired text.
Jean-Michel Basquiat produced Liberty in 1982, a period during which his work gained significant attention for its raw, frenetic energy and dense layering of information. The composition functions as a visual archive of the artist's interests, combining anatomical diagrams, historical references, and critiques of economic systems. Basquiat employs a chaotic arrangement of text and imagery, where words such as 'Petrol', 'Radium', and 'Asbestos' appear alongside anatomical labels like 'Salivary Gland' and 'Premolars'.
The work features a prominent red field that dominates the right side of the canvas, providing a stark contrast to the blue grid patterns and graphite sketches on the left. Basquiat incorporates references to currency, specifically the 'Roosevelt Ten Cent Piece', and historical figures or concepts, such as 'Egyptian King'. These elements are not arranged in a traditional narrative sequence. Instead, they exist as a collection of signs that invite the viewer to map connections between industrial materials, biological processes, and the mechanisms of power.
Basquiat's technique involves a combination of oilstick and acrylic, resulting in a surface that feels immediate and unrefined. The lines are jagged and urgent, reflecting the influence of graffiti culture on his practice. By juxtaposing scientific terminology with cultural icons, the artist creates a tension between the clinical and the societal. The inclusion of phrases like 'Let them eat dirt' suggests a cynical view of economic disparity, while the recurring motifs of teeth and jaw structures point to his fascination with the human form as a site of both vulnerability and decay. This piece remains a primary example of his ability to synthesise disparate cultural data into a singular, cohesive visual experience.
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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
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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
Liberty - 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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