Moses and the Burning Bush - Keith Haring
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A 1985 work by Keith Haring depicting the biblical narrative of Moses and the burning bush, rendered in his signature graphic, high-energy style.
Keith Haring, an American artist associated with the New York City street culture of the 1980s, created this work in 1985. The composition depicts the biblical narrative of Moses encountering the burning bush. Haring employs his signature visual vocabulary, characterised by bold, rhythmic lines and a flattened pictorial space. The figure of Moses is rendered in a simplified, iconic form, while the burning bush is represented through a dense, energetic arrangement of marks that suggest heat and movement.
The work demonstrates Haring's ability to synthesise religious iconography with the graphic language of graffiti and cartooning. The surface is covered in a continuous, serpentine pattern that unifies the subject and the background. This approach creates a sense of visual agitation, reflecting the intensity of the encounter described in the Book of Exodus. The palette is dominated by high-contrast tones, with warm reds and oranges set against a cooler, violet-toned ground. This colour choice emphasises the contrast between the divine fire and the surrounding environment.
Unlike his earlier, more minimalist chalk drawings on subway panels, this piece shows a greater density of detail and a more complex layering of forms. The repetition of line work across the entire canvas creates a decorative, almost textile-like quality, yet the subject remains legible through the artist's use of clear, black outlines. Haring often explored themes of spirituality, social justice, and human experience, and this work serves as an example of his engagement with traditional narratives through a contemporary, graphic lens. The piece remains a clear representation of his mature style, where the boundary between fine art and popular graphic design is blurred, allowing for a direct and immediate communication with the viewer.
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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
Moses and the Burning Bush - Keith Haring
Artist Biography
Keith Haring
He moved to New York in 1978 to attend the School of Visual Arts and within two years had found his medium: white chalk on the matte black paper that covered unused advertising panels in subway stations. He drew in the stations almost every day between 1980 and 1985, sometimes producing forty drawings in a single session. Commuters watched. The police arrested him repeatedly for vandalism. The drawings kept appearing.
The subway work made him famous before galleries did. Radiant babies, barking dogs, crawling figures, flying saucers: a vocabulary of shapes repeated and recombined like a visual language. The line work was fast and confident and looked easy, which was part of the point. He wanted art that anyone could read immediately. In 1986 he opened the Pop Shop in SoHo, selling t-shirts, posters, and badges with his designs at prices people could actually pay. The art world called it selling out. Andy Warhol, who had been doing exactly the same thing for twenty years, supported him.
He was diagnosed with HIV in 1987 and with AIDS the following year. The last works are direct: the 'Ignorance = Fear' poster for ACT UP, the Barcelona mural 'Todos Juntos Podemos Parar el SIDA', the horned sperm figure that became his symbol for the virus. He set up the Keith Haring Foundation in 1989 to fund AIDS organisations and children's programmes. He died in February 1990, at thirty-one. He was cremated and his ashes were scattered in a field near Kutztown, close to where he first sat drawing with his father.
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