Keith Haring Follow Keith and Julia signed, titled, inscribed and dated ""Keith + Julia" © K. Haring Sept. 27-86 ⊕ NYC" on the overlap oil and acrylic on canvas 36 1/4 x 48 1/4 in. (92.1 x 122.6 cm.) Painted in 1986.
Provenance Galerie Daniel Templon, Paris Private Collection, Paris (acquired in 1986) Private Collection, New York Private Collection, Europe Exhibited Paris, Galerie Daniel Templon, Keith Haring Œuvres récentes , October 18 - November 22, 1986 Paris, Musée d'Art Moderne de la Ville de Paris, Passions privées , December 1995 - March 1996, no. 10, p. 596 (illustrated) Paris, Musée Maillol, Keith Haring Made in France , 1999, p. 41 (illustrated) Milan, Triennale di Milano, The Keith Haring Show, curated by Gianni Mercurio and Julia Gruen , September 27, 2005 - January 29, 2006, no. 107, p. 34, pp. 262-263 (illustrated) Lyon, Biennale de Lyon, Musée d'art contemporain de Lyon, Keith Haring , February 22 - June 29, 2008, p. 34 (illustrated) Literature Keith Haring all-over , exh. cat., Beaux-Arts Mons and Anciens Abattoirs, Belgium, 2009, p. 34 (illustrated) Jennifer Landes, "Julia Gruen Finds Her Voice," The East Hampton Star , June 3, 2014 (illustrated) Keith Haring About Art, exh. cat., Palazzo Reale, Milan, 2017, p. 189 (illustrated) Catalogue Essay Keith and Julia is a striking and deeply intimate self-portrait of Keith Haring with Julia Gruen, the artist’s assistant, studio manager and confidante during the last six years of his life. An iconic example of Haring’s celebrated aesthetic idiom, this work presents the two figures with bold, schematic outlines against a bright yellow background across which flat organic shapes of color hover. Executed in 1986, at the peak of Haring’s tragically short but intensely dynamic life and career, Keith and Julia belongs to a small series of portrait paintings that are stylistically distinct within Haring’s oeuvre for the complex fragmentation with which the human figure is delineated. The only painting to pay tribute to Julia Gruen, Keith and Julia notably inspired a series of iconic yellow sculptures, entitled Julia , in the following year. A seminal work, Keith and Julia has since been exhibited at the 2006 Lyon Biennial and the 2007 Milano Triennale. A vibrant and life-affirming celebration of humanity, Keith and Julia perfectly articulates the artist’s radical fusing of high and low art. It was upon moving to New York in 1978 and meeting such contemporaries as Kenny Scharf and Jean Michel Basquiat that Haring developed his distinctive artistic idiom, one that built upon his childhood interest in popular culture cartoons and drew liberally from New York’s 1980s street culture. Works such as the present one demonstrate Haring’s embrace of the graffiti-art aesthetic, but also exemplify his deep engagement with art history. As curator and art critic Demetrio Paparoni has observed, “from Picasso he [Haring] took a delight in painting that found expression in the most complete liberty of form; from Leger, the clean black line that shapes his figures, set against the background of Matisse’s flat slabs of color"(Demetrio Paparoni, The Keith Haring Show , 2005, p. 41). While the subject matter and combination of frontal and profile perspective in Keith and Julia recalls Pablo Picasso’s portraits of muses, the modulation of the busts reveals the influence of French anti-establishment artist Jean Dubuffet In stark contrast to the majority of Haring’s faceless depictions of figures, the figures in Keith and Julia are carefully modulated - the fragmentation and delineation of facial features clearly paying homage to Dubuffet’s signature L’Hourloupe style. Haring’s distinctive visual language and political sensibility have made him one of the most influential artists of the 20th century, one who Julia Gruen has spent her life promoting. Gruen first encountered Haring in 1984 when New York gallerist Tony Shafrazi hired her to be his assistant, and soon thereafter became one of his closest confidantes. Gruen organized many of the now legendary events around Haring’s groundbreaking practice, such as the Parties of Life series, socially-engaged art projects with local school children of New York o
Keith Haring Follow Keith and Julia signed, titled, inscribed and dated ""Keith + Julia" © K. Haring Sept. 27-86 ⊕ NYC" on the overlap oil and acrylic on canvas 36 1/4 x 48 1/4 in. (92.1 x 122.6 cm.) Painted in 1986.
Provenance Galerie Daniel Templon, Paris Private Collection, Paris (acquired in 1986) Private Collection, New York Private Collection, Europe Exhibited Paris, Galerie Daniel Templon, Keith Haring Œuvres récentes , October 18 - November 22, 1986 Paris, Musée d'Art Moderne de la Ville de Paris, Passions privées , December 1995 - March 1996, no. 10, p. 596 (illustrated) Paris, Musée Maillol, Keith Haring Made in France , 1999, p. 41 (illustrated) Milan, Triennale di Milano, The Keith Haring Show, curated by Gianni Mercurio and Julia Gruen , September 27, 2005 - January 29, 2006, no. 107, p. 34, pp. 262-263 (illustrated) Lyon, Biennale de Lyon, Musée d'art contemporain de Lyon, Keith Haring , February 22 - June 29, 2008, p. 34 (illustrated) Literature Keith Haring all-over , exh. cat., Beaux-Arts Mons and Anciens Abattoirs, Belgium, 2009, p. 34 (illustrated) Jennifer Landes, "Julia Gruen Finds Her Voice," The East Hampton Star , June 3, 2014 (illustrated) Keith Haring About Art, exh. cat., Palazzo Reale, Milan, 2017, p. 189 (illustrated) Catalogue Essay Keith and Julia is a striking and deeply intimate self-portrait of Keith Haring with Julia Gruen, the artist’s assistant, studio manager and confidante during the last six years of his life. An iconic example of Haring’s celebrated aesthetic idiom, this work presents the two figures with bold, schematic outlines against a bright yellow background across which flat organic shapes of color hover. Executed in 1986, at the peak of Haring’s tragically short but intensely dynamic life and career, Keith and Julia belongs to a small series of portrait paintings that are stylistically distinct within Haring’s oeuvre for the complex fragmentation with which the human figure is delineated. The only painting to pay tribute to Julia Gruen, Keith and Julia notably inspired a series of iconic yellow sculptures, entitled Julia , in the following year. A seminal work, Keith and Julia has since been exhibited at the 2006 Lyon Biennial and the 2007 Milano Triennale. A vibrant and life-affirming celebration of humanity, Keith and Julia perfectly articulates the artist’s radical fusing of high and low art. It was upon moving to New York in 1978 and meeting such contemporaries as Kenny Scharf and Jean Michel Basquiat that Haring developed his distinctive artistic idiom, one that built upon his childhood interest in popular culture cartoons and drew liberally from New York’s 1980s street culture. Works such as the present one demonstrate Haring’s embrace of the graffiti-art aesthetic, but also exemplify his deep engagement with art history. As curator and art critic Demetrio Paparoni has observed, “from Picasso he [Haring] took a delight in painting that found expression in the most complete liberty of form; from Leger, the clean black line that shapes his figures, set against the background of Matisse’s flat slabs of color"(Demetrio Paparoni, The Keith Haring Show , 2005, p. 41). While the subject matter and combination of frontal and profile perspective in Keith and Julia recalls Pablo Picasso’s portraits of muses, the modulation of the busts reveals the influence of French anti-establishment artist Jean Dubuffet In stark contrast to the majority of Haring’s faceless depictions of figures, the figures in Keith and Julia are carefully modulated - the fragmentation and delineation of facial features clearly paying homage to Dubuffet’s signature L’Hourloupe style. Haring’s distinctive visual language and political sensibility have made him one of the most influential artists of the 20th century, one who Julia Gruen has spent her life promoting. Gruen first encountered Haring in 1984 when New York gallerist Tony Shafrazi hired her to be his assistant, and soon thereafter became one of his closest confidantes. Gruen organized many of the now legendary events around Haring’s groundbreaking practice, such as the Parties of Life series, socially-engaged art projects with local school children of New York o
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