Television and Cruelty to Animals - Jean-Michel Basquiat
Giclée de archivo
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Descripción
A 1983 Neo-Expressionist work by Jean-Michel Basquiat, featuring a dense arrangement of text, symbols, and gestural figures.
Television and Cruelty to Animals (1983) is a representative example of Jean-Michel Basquiat's approach to painting. The work functions as a dense visual field, combining text, symbols, and figurative elements that reflect the artist's engagement with urban culture and media. Basquiat employs a raw, immediate application of paint and oilstick, creating a surface that mimics the aesthetic of graffiti and street signage.
The composition is populated by recurring motifs: a stylised bat figure, an eight-ball, and a moose head. These elements are interspersed with handwritten phrases and numbers, such as 'Masonic Lodge No. 43' and 'Popeye versus the Nazis'. The inclusion of crossed-out text is a consistent feature in Basquiat's practice, which he noted was a method to draw attention to the words themselves. The palette is limited, relying on primary colours against a neutral ground, which allows the aggressive, gestural lines to dominate the visual experience.
Basquiat's work often synthesises disparate cultural references, from popular cartoons to historical and political symbols. In this piece, the juxtaposition of these icons creates a fragmented narrative. The viewer is presented with a series of signs that resist a singular interpretation. The work reflects the artist's interest in the power of language and the way information is consumed and discarded in contemporary society. By placing these symbols in a non-hierarchical arrangement, Basquiat forces a confrontation between the viewer and the chaotic nature of the information age. The physical presence of the canvas, often mounted with exposed wooden supports, reinforces the object-like quality of his paintings, moving them away from traditional fine art presentation toward a more visceral, immediate form of expression.
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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
Television and Cruelty to Animals - 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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