CPRKR - Jean-Michel Basquiat
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Beskrivning
A striking 1982 work by Jean-Michel Basquiat, featuring his signature crown motif, raw oilstick text, and a blend of historical and contemporary references.
CPRKR, created in 1982, is a characteristic example of Jean-Michel Basquiat's approach to painting. The work incorporates text, symbols, and a raw, unrefined aesthetic that draws upon his background in graffiti. Basquiat often utilised historical references and personal observations, layering them onto the canvas to create a dense, visual narrative. In this piece, the artist engages with themes of power, history, and identity through the inclusion of specific dates and names, such as the reference to Charles the First.
The composition is framed by a rough, wooden structure, which adds a physical, object-like quality to the painting. The surface features a pale, off-white ground, upon which Basquiat applied bold, black oilstick markings. These lines appear spontaneous and urgent, reflecting the speed and energy of his creative process. The presence of the crown, a recurring motif in his work, sits centrally, flanked by redacted text. This act of crossing out words is a common technique for the artist, suggesting a tension between the desire to communicate and the impulse to obscure information.
Basquiat's work from this period often synthesises high art references with the vernacular of the street. By placing historical figures alongside contemporary locations like the Stanhope Hotel, he collapses time, forcing the viewer to consider the relationship between past events and the present moment. The stark contrast between the dark, heavy blocks of paint and the lighter background creates a sense of visual rhythm. This print captures the texture and immediacy of the original, preserving the raw quality of the oilstick marks and the deliberate, unpolished nature of the composition. It remains a direct representation of the artist's unique visual language.
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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
CPRKR - 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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