Underground I
Other
2012
70.0 x 70.0 cm
Museum of the Arts of the University of Guadalajara
Giclée / Εκτυπώσεις Τέχνης
Εκτύπωση giclée ή σε καμβά ποιότητας μουσείου με γρήγορη παραγωγή και ευέλικτες επιλογές φινιρίσματος. ( Μετάβαση σε χειροποίητη ζωγραφική
Μετάβαση σε Εικόνα)
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Επιλέξτε από τις προκαθορισμένες διαστάσεις μας που διατηρούν τις αρχικές αναλογίες του έργου τέχνης.
Μπορείτε να εισαγάγετε δικές σας διαστάσεις ώστε να ταιριάξουν με ένα συγκεκριμένο πλαίσιο ή χώρο. Εάν το επιλεγμένο μέγεθος δεν συμπίπτει με τις αναλογίες της πρωτότυπης εικόνας, θα κόψουμε το έργο τέχνης ή θα επεκτείνουμε την εικόνα με καθρεφτισμένη ή μονόχρωμη ατέλεια. Θα σας αποσταλεί ένα ψηφιακό mockup για έγκρισή σας πριν από την έναρξη της παραγωγής.
Παρακαλούμε σημειώστε ότι η προεπισκόπηση στην οθόνη δεν αντικατοπτρίζει την πραγματική κοπή ή επέκταση. Μόνο το mockup θα δείξει με ακρίβεια την τελική σύνθεση.
Παρόλο που είναι διαθέσιμες προσαρμοσμένες διαστάσεις, προτείνουμε την επιλογή μιας διάστασης από τη προκαθορισμένη λίστα για τη διατήρηση των αρχικών αναλογιών.
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Underground I
Giclée / Εκτυπώσεις Τέχνης
Διαστάσεις Αναπαραγωγής
-
Τελική Τιμή
$ 62
Παρόμοια Έργα Τέχνης
Βιογραφία Καλλιτέχνη
Jean-Michel Basquiat: A Voice From the Streets
Born in Brooklyn, New York, in 1960 to Haitian and Puerto Rican parents, Jean-Michel Basquiat’s life was a collision of cultures and experiences that profoundly shaped his art. His early years were marked by movement – leaving home at fifteen to live in Lower Manhattan, immersing himself in the vibrant, often chaotic world of New York City's downtown scene. He found work as a messenger boy, a dishwasher, and even a nightclub bouncer, absorbing the energy and grit of the city while simultaneously honing his artistic skills through sketching and painting on whatever surfaces he could find – walls, floors, jackets, anything that offered a canvas.
Initially, Basquiat’s work was deeply rooted in the graffiti subculture. He adopted the pseudonym “SAMO” (short for “same old, same old”) and began tagging city walls with cryptic statements alongside fellow artists like Al Diaz. These early pieces, often incorporating phrases like "SAMO © 4 THE SO-CALLED AVANT-GARDE," were a direct challenge to the established art world, questioning its conventions and reflecting the frustrations of marginalized communities. This street art background—the immediacy, the raw energy, and the deliberate disruption – would become a defining characteristic of his later work.
The Rise to Fame: From Subway Cars to Museum Walls
The turning point arrived in 1980 with the “Times Square Show,” an unauthorized exhibition organized by a group of artists who transformed a vacant building into a makeshift gallery. Basquiat’s paintings, characterized by their bold colors, fragmented imagery, and layered text, immediately attracted attention from critics and collectors alike. The influential article "The Radiant Child" in The New York Times Magazine, written by Rene Ricard, catapulted him to international fame, framing him as a “new original” – a figure both deeply personal and profoundly critical of the art market’s tendency to commodify and distort artistic expression.
This period was particularly significant because it coincided with the "culture wars" of the 1980s—a time of intense social and political polarization. Basquiat's work resonated powerfully with this context, addressing issues of race, identity, and power dynamics within the art world itself. He wasn’t simply creating beautiful images; he was engaging in a dialogue about representation, exclusion, and the complex relationship between artist and audience.
A Visual Language: Symbolism and Technique
Basquiat's visual language is instantly recognizable—a dense tapestry of symbols, words, and imagery that often defy easy interpretation. He drew heavily on sources ranging from African art and mythology to American pop culture, jazz music, and historical documents. His paintings frequently incorporate anatomical diagrams, lists, inventories, maps, and cryptic phrases, creating a sense of intellectual stimulation alongside emotional resonance.
Technically, Basquiat’s style evolved rapidly throughout his career. Initially influenced by the gestural energy of Abstract Expressionism and the raw immediacy of graffiti, he gradually developed a more controlled and layered approach, employing techniques such as collage, painting, drawing, and assemblage. His use of bright colors—particularly blues, reds, and yellows—contrasted sharply with the black-and-white imagery often associated with street art, creating a dynamic visual tension.
Legacy and Impact
Despite his tragically short life – he died of a heroin overdose in 1988 at the age of twenty-seven – Jean-Michel Basquiat left an indelible mark on the art world. His work continues to be celebrated for its raw honesty, its critical engagement with social issues, and its innovative visual language. His paintings have achieved astonishing levels of value, demonstrating a remarkable return on investment over time, as evidenced by Sotheby’s index.
More importantly than the monetary value, Basquiat's legacy lies in his ability to challenge conventions, to speak truth to power, and to give voice to marginalized communities. His art remains relevant today, prompting viewers to confront uncomfortable truths about race, identity, and the complexities of contemporary society. He is remembered not just as a brilliant artist but as a cultural icon—a testament to the transformative power of creativity and the enduring importance of artistic expression.
alejandro nava tovar
1982 - , Mexico
Σημαντικά στοιχεία
- Artistic Movement Or Style: Neo-Expressionism
- Artists Or Movements Influenced By This Artist:
- Jazz
- Black art history
- Artists Who Influenced This Artist:
- Andy Warhol
- Graffiti artists
- Date Of Birth: 1960
- Date Of Death: 1988
- Full Name: Jean-Michel Basquiat
- Nationality: American
- Notable Artworks:
- Untitled (1982)
- Dustheads
- Echoes in the Rain
- Place Of Birth: Brooklyn, New York

Η επιλογή με γυαλί είναι διαθέσιμη μόνο για μεγέθη κάτω από 110 εκ.
