Keith Haring

Private Collection
Phillips, London, October 16, 2014, lot 157
Acquired from the above sale by the present owner

This work is overall in good condition. There is evidence of light craquelure in the black paint areas across the surface. The paper is slightly undulated. A cut mark is located 47 cm to the top edge and 2 cm to the right edge of the work, presumably inherent to the artist's working method. Not laid down and hinged to the backing board in two places along the top edge. Frame under Plexiglas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Inspired by Andy Warhol and his contemporary Jean-Michel Basquiat, artist Keith Haring utilized his art as a means to express his individuality through the deconstruction of classical objectivity and perception. Executed in 1988, the present work exemplifies Haring's extreme dexterity as an artist in his appropriation of traditional imageries adapted and personalized to his own signature and unique "street" style. In Untitled, Haring uses the image of the Mona Lisa, perhaps the most renowned portrait in Art History, yet defaces her classical representation, superimposing it with his distinctive illustrative style. The repeated image of da Vinci's canvas is adapted to various degrees within its three reproductions. These interpretations form the central segment of the composition, from which Haring's simple yet poignant line-silhouettes emerge. The artist's characteristic reduction of form to its simplest, primary elements finds further power in its direct comparison to established art-form. The gestural depictions materialise from the paper, striking and vibrant in their impulsive execution. These distinctive elements encourage the viewer to question existing boundaries in art while making connections between the contemporary art and its progression from the classics.