| 中文版 English

具体要求

其它要求

-
关闭
尚· 米榭· 巴斯奇亞 (1960-1988) Donut 復仇
香港
2021年12月01日 开拍 / 2021年11月29日 截止委托
拍品描述 翻译
尚· 米榭· 巴斯奇亞
尚· 米榭· 巴斯奇亞 (1960-1988)
Donut 復仇
壓克力 油畫棒 拼貼紙 畫布
243.2 x 182.2?cm. (95?3/4?x?71 3/4?in.)?
1982年作
款識:DONUT REVENGE Jean Michel Basquiat 1982 (畫背)
Annina Nosei Gallery, New York Christie’s New York, 6 November 1985, lot 72 Marlborough Gallery, New York Christie's, New York, 13 May, 1995, lot 52 Blake Byrne, Los Angeles (acquired from the above sale) Private Collection, USA Private Collection, Europe Private Collection
拍品专文 "His hand was swift and sure. The images that trailed behind it crackled and exploded like fireworks shot from the back of a speeding flatbed truck" Robert Storr "If Cy Twombly and Jean Dubuffet had a baby and gave it up for adoption it would be Jean-Michel. The elegance of Twombly is there from the same source (graffiti) and so is the brut of the young Dubuffet" Rene Ricard Towering almost eight feet high, Donut Revenge (1982) is a monumental figure painting from the pinnacle of Jean-Michel Basquiat’s career. Amid a background formed of radiant, gestural swathes of pink, white, black, yellow and red paint, a striking character floats like an angel. Arcs of energy crackle from his outstretched limbs; one arm glows purplish blue, and the other emits smoky lines as if sizzling with heat. Above his head, a luminous halo spits pyrotechnic sparks, and a large speech-bubble blares with an illegible black scrawl. This element underscores the figure’s graphic intensity, which is indebted to comic-books and cartoons as much as to the Abstract Expressionists and Old Masters. His goggle-eyes, overlaid features and rotund body create a humorous impression, heightened by the inscription ‘little fat man with a chicken leg’ on his chest. Whether the figure makes for a martyr, voodoo effigy, self-portrait or a jab at the overstuffed 1980s art world is an open question; like the speech bubble’s unreadable marks, he is indisputably loud yet ultimately ambiguous. A masterclass in Basquiat’s collisions of art history, the work is anchored by its architectonic colour and electrified line, which come together to form a vividly charged and enigmatic picture. 1982 was a watershed year for Basquiat. At just twenty-one years old, and already famed for his personal charisma as much as his creative genius, he completed his transition from street graffitist to fully-fledged sovereign of the New York art scene. Since late 1981, he had been working in a studio beneath the SoHo gallery of Annina Nosei: there is a photograph of Donut Revenge in progress there, alongside other major paintings including Red Skull (1982). ‘Since Jean-Michel did not have a place to work and wanted to produce very large paintings, I allowed him to work in a storage area of the gallery that was below the exhibition space’, Nosei recalled. ‘It was an area in a large basement that had a huge skylight in the back. In the next few months, Jean-Michel produced a number of masterpieces that brought him to the attention of the entire art world’ (A. Nosei, quoted in Jean-Michel Basquiat: An Intimate Portrait, exh. cat. Castellani Art Museum, Lewiston 2003, n.p.). Nosei mounted the artist’s first ever solo show in March 1982, which was received with huge acclaim. Over the following months, Basquiat travelled the globe for solo exhibitions in Los Angeles, Zurich, Rome and Rotterdam, and showed at Documenta VII in Kassel, where he was the youngest artist within a line-up of contemporary masters including Gerhard Richter, Joseph Beuys and Cy Twombly. Reflecting upon this exhilarating period, Basquiat recalled ‘I had some money: I made the best paintings ever’ (J-M. Basquiat, quoted in C. McGuigan, ‘New Art New Money: The Marketing of an American Artist’, in The New York Times Magazine, 10 February 1985, p. 74). Donut Revenge was among them. A number of key influences for Basquiat clamour in Donut Revenge. Set out in calligraphic oilstick, its figure and speech-bubble echo the bold, linear imagery and script of a comic-strip; an avid admirer of comics and cartoons since childhood, Basquiat freely incorporated such references throughout his work, transforming and recontextualising them—much like his Pop forebear Roy Lichtenstein— in order to explore the ways they reflected contemporary society. The figure also reflects a more Old Masterly lineage. With their haloes and crowns, many of Basquiat’s figures call upon the saints, messiahs and kings of art history, while at the same time conjuring black heroes of the artist—including jazz musicians, boxers and baseball players— whose identities he blurred with his own. The curious figure in Donut Revenge could be a superhero or angel; the incandescent backdrop heightens his aura of otherworldly power. He also appears vulnerable, however, seemingly lifted by a force-field beyond his control, and swelling like a balloon ready to pop. Whether through rapacious promoters, personal demons or the bigotry of the industries in which they worked, Basquiat knew that many of his idols had been destroyed or burnt out by their celebrity. Amid his own meteoric rise to fame and fortune, he felt these pressures all too keenly. While he was in hospital following a childhood car accident, Basquiat’s mother had given him a copy of Gray’s Anatomy. It helped him to understand his body as it healed, and went on to become a key touchstone for his art. Many of his figures reveal their skulls, muscles and nervous systems, as if seen through an X-ray. Donut Revenge exhibits just such an anatomical vision. The figure’s face contains multiple superimposed features, with concentrically-circled eyes, a displaced nose, and one doubled, off-register mouth lensing onto a skeletal grin. Basquiat’s attention to internal workings can be viewed as part of a broader pictorial interest in peeling back the surfaces of the world at large. As well as hinting at a wounded self-image, the present picture’s many layers speak to a multi-channelled vision of reality, capturing the process of an artist who sampled, organised and synthesised data from multiple sensory dimensions—movies, music, books, New York street life, art history, his own subconscious—onto a single surface. Towards the end of 1981, the critic Rene Ricard published his essay ‘The Radiant Child’ in Artforum. It was the first extensive study of Basquiat’s work in print, and a much-quoted assessment of his early oeuvre. ‘If Cy Twombly and Jean Dubuffet had a baby and gave it up for adoption it would be Jean-Michel’, he wrote. ‘The elegance of Twombly is there from the same source (graffiti) and so is the brut of the young Dubuffet’ (R. Ricard, ‘The Radiant Child’, Artforum, Volume XX, No. 4, December 1981, p. 43). Both Twombly’s lyrical scrawl and Dubuffet’s intense, primitivist figuration resound in Donut Revenge. The work equally conjures the exuberant paintwork of the Abstract Expressionists, which itself shares much with the gestural colour of graffiti: what Jeffrey Deitch called Basquiat’s ‘knock-out combination of de Kooning and subway spray-paint scribble’ (J. Deitch, quoted in Jean-Michel Basquiat, Tony Shafrazi Gallery, New York, 1999, p. 324). In palette and technique, the present work’s backdrop has particularly close echoes of de Kooning’s windblown, light-filled paintings of the early 1980s. It is a thrilling reminder that both masters were at work at the same time in New York. “Painting isn’t an aesthetic operation,’ Picasso said much later. ‘It is a way of seizing the power by giving form to our terrors as well as our desires. Men had made these masks and other objects for a sacred purpose, a magic purpose, as a kind of mediation between themselves and the unknown hostile forces, in order to overcome their fear and horror by giving it an image. When I came to that realisation, I knew I had found my way.’ The Guinean Invention was also a determining one for the adventure of Western modern art. According to William Rubin, Picasso’s purchase a Nimba during the 1920s inspired his execution of a series of portraits of Marie-Thérèse Walter. So did most of the other stars of Modern art history: Gauguin, Matisse, deVlamin ck, Giacometti, Modigliani, Brancusi, Léger, Baselitz, Warhol and, of course Basquiat. The subject of Basquiat’s paintings is primarily inspired mainly by his upbringing and heritage, by his heroes from various walks of life, athletes, jazz musicians, sometimes self-portraits, rendered in a coarse, stick-man format. Basquiat tapped into African history, symbolism and stylisations in his artworks, to proclaim solidarity with his black roots. For example, his figures often have mask-like facial features which echo some traditional African masks, He combined these references to Africa with influences of street and graffiti art, to create a visual language and message that could be understood in context by his audience in the West. He used this language to speak of the brutality he lived and witnessed. ‘I cross out words’, Basquiat once said, ‘so you will see them more: the fact that they are obscured makes you want to read them’ (J-M. Basquiat, quoted in Jean Michel Basquiat, Gem?lde und Arbeiten auf Papier (Paintings and works on paper), exh. cat. Museum Würth, Künzelsau 2001, p. 54). The cryptic inscription in Donut Revenge is typical of the elusive dance Basquiat played with words, which he sampled, composed and transmuted as freely as he obscured them. A similarly unreadable legend appears in his iconic 1981 ‘skull’ painting Untitled (Broad Collection, Los Angeles), with its graphic lines almost—but not quite— becoming letters. The work’s title also appears to be a linguistic pun: another painting from 1982 is titled Do Not Revenge, perhaps indicating a free-associative origin for Donut Revenge. Basquiat’s imagination was richly aural as well as visual. Here, he lets the figure speak only in a tangle of noise, as if he is a visitor

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:140,000,000 - 190,000,000 港币 起拍价格:140,000,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 25.00%
5,000,000 - 50,000,000 20.00%
50,000,000 - 以上 14.50%

拍卖公司

Christie's HK
地址: 佳士得艺廊 香港中环历山大厦22楼
电话: +852 2978 6734
邮编: 000
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士