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29 de abr. de 2017 · Street Art. Título original: Colección particular. Técnica: Escrito por: Basquiat con 22 años era ya una estrella del arte. Poco antes pintaba grafitis en los muros del Soho y mendigaba en el Low Manhattan, pero ahora las galerías de medio mundo se lo rifaban.
6 de abr. de 2021 · Inspired by a true story, Invincible recounts the last 48 hours in the life of Marc-Antoine Bernier, a 14-year-old boy on a desperate quest for freedom. ‘Notary’ was created in 1983 by Jean-Michel Basquiat in Neo-Expressionism style. Find more prominent pieces of figurative at Wikiart.org – best visual art database.
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10 de feb. de 2024 · In the world of art, Jean-Michel Basquiat's painting "Notary" stands as a captivating masterpiece that continues to provoke curiosity and contemplation. The artwork, created in 1983, holds significant meaning and importance within Basquiat's oeuvre and the larger art world. At first glance, "Notary" appears as a chaotic composition ...
Artwork: Jean-Michel Basquiat, Notary (1983) Reference: The Defining Years, by Fred Hoffman (Basquiat Book, Brooklyn Museum, 2005) In 1983, Jean-Michel painted this artwork entitled Notary, rendered in acrylic, oil paintstick and paper collage spread over three wood panels.
10 de ago. de 2021 · Uno de los principales exponentes de este arte posmodernista en el país norteamericano fue Jean-Michel Basquiat. Basquiat, también conocido como SAMO , fue un dibujante, pintor, artista de graffiti, poeta y músico de ascendencia Puertorriqueña y Haitiana nacido en Nueva York el 22 de diciembre de 1960.
In this article, we delve into the multifaceted and meticulous process of verifying Jean-Michel Basquiat’s enormous body of work not only unraveling the complexities surrounding his artistic output but also hoping to shed light on the artist’s evolution and the nuanced narratives woven into each piece.
Richard Marshall (Jean-Michel Basquiat, p. 23) was the first writer to identify the source of the artist’s use of this word. While Emmerling’s argument that Notary addresses the artist’s new position as the vulnerable and almost helpless creator of financial value is relevant, other aspects of his argument are less convincing.
