Jean-michel basquiat paintings self portrait

Jean-Michel Basquiat used bright and cool colors in the painting which makes to show the true artistic work in the painting. As the painting name goes, self —portrait, the painting depicts the image of man with the artist painting his eyes, mouth, nose and ears red. The neck was painted black and the rest of the body red. Jean-Michel Basquiat used the color technique in order to communicate to the viewer.

The painting shows the most important things in a human being in order to operate normally which include eyes, mouth, nose and ears. Jean-Michel had a signature painting style featuring diagrams, elusive symbols and obsessive scribbling that he depicts in the Self-Portrait. He fused paintings with poetry, music and history to enunciate the harsh realities of culture, society and race.

Jean-michel basquiat paintings self portrait

In most of his portraits, Jean-Michel generalises the critical facial features like eyes and mouth to bring out the relevance of using body organs to inspire others. The letters around the mouth area and the red path connecting the eyes and mouth warn people to watch what they speak. The red-eye colour creates a haunted look that depicts frustration and internal anguish.

Using red colours around the mouth and ears also shows the crucial organs that one needs to watch. The paining is an acrylic on canvas project which has a size of centimetres by The center of the canvas is dominated by a large dark figure with thin, stick-like arms outstretched. The head is 'enlarged' and out of scale of the rest of the body.

The left hand appears to be holding a paint roller, the right hand has a curved object of some kind. With its luminous hues and energetic, sparking lineation, Untitled Self Portrait captures the dynamism of the artist in his prime. The trace of a footprint at its base records the frenetic movement of his studio, where drawings and paintings proliferated across every surface.

The springs of hair burst forth from the skull like mechanical components, while the white lines blaze out like the lightbulb flash of a brilliant idea. In other figural works, Basquiat blurred his own identity with a pantheon of black heroes—the jazz musician Charlie Parker, champion boxers like Muhammad Ali and Joe Louis, baseball players such as Hank Aaron—whom he also often crowned or haloed, drawing upon the art-historical iconography of angels, saints, messiahs and kings.

Like Basquiat himself, his idols were men of incendiary talent, risen to positions of greatness despite the racism of American society. While he ennobled these figures and celebrated their splendour, he also laid bare their vulnerability, often depicting them as worn-out, fragmented or threatened. Spotlit and brilliant, the figure also seems menaced by the surrounding void, as if it might be swallowed up by external forces.

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 fame: he himself felt these pressures keenly, and faced everyday prejudice even as he rose to great heights of celebrity and success. Buchhart and A.