HERVÉ DI ROSA | Naissance d'une civilisation II (La Construction)

Private Collection, France 

The colours in the printed catalogue illustration are slightly lighter than in the original work.The work is executed on its original canvas and is not relined. Wear marks are located along the edges, there is slight yellowing along the white edges and few handling marks.
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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."

FRENCH VERSION Au début des années 80, de jeunes artistes français surprient critiques et marchands par le flamboiement juvénile et désinvolte qui émanait de leurs toiles. [...] Ces artistes qui allaient bientôt faire parler d'eux s'appelaient Combas, Blanchard, Boisrond, Di Rosa. Un esprit de provocation bon enfant les réunissait. Quelques années plus tard, un rapprochement fut esquissé avec un autres groupe d'artistes, très jeunes également, qui vivaient à New York et dont les oeuvres reflétaient les sinuosités anarchiques des graffiti qu'on pouvait apercevoir sur les rames de métro et dans les rues de Manhattan. Leurs toiles partageaient avec celles des Français une même légèreté. Jean-Michel Basquiat, Keith Haring, Kenny Scharf accomplissaient de l'autre côté de l'Atlantique  un parcours analogue: leur peinture exprimait ce même délire ironique, cette même violence, et bénéficiait aussi d'une reconnaissance rapide et officielle. (...) Ces artistes allaient connaître une vogue internationale. Ils tournaient le dos au caractère austère et intellectuel d'Art Consensuel, de l'Art Minimal ou du Support-Surface. Le monde de l'art accueilli avec ferveur ce souffle d'imprévu d'air frais et décontraction.



ENGLISH VERSION

In the beginning of the 80's, young french artists surprised critics and dealers with the juvenile flare and the nonchalant attitude which radiated from their canvases. (...) Theses same artists who would soon rise to fame where named Combas, Blanchard, Boisrond, Di Rosa. A taunting spirit and good-natured atmosphere united them. A few years later, a parallel was drawn with another group of artists, of a similar age, who lived in New York and whose works reflected the anarchic meanderings of graffiti visible on the Manhattan subway and streets. Their works shared with those of the French artists' a similar light heartedness. Jean-Michel Basquiat, Keith Haring, Kenny Scharf were accomplishing an analogous journey across the Atlantic: their art expressed the same ironic delirium, the same violence, and benefited from a quick and formal acknowledgement. (...) These artists were about to experience international fame. They were turning their backs on the stark and intellectual character of Consensual Art, Minimal Art, or Support-Surface. The art world welcomed with fervor this unforeseen wave of fresh informal air. 

Thierry Laurent, La figuration libre, Paris-New-York