Untitled (From Leonardo)

 

Basquiat’s Untitled: From Leonardo serves as a captivating reflection on the high renaissance anatomical studies of Leonardo da Vinci. Between seriousness and humor, expressive immediacy and historical distance, drawing and silkscreen, Basquiat presents a compelling set of five sketch-like prints through an unorthodox process. As gallerist and publisher of the edition Fred Hoffman recalls:

“[Untitled: From Leonardo] came into being as a result of somewhat unusual and insightful circumstances. In the course of working with Basquiat, I spent a great deal of time in the artist’s studio, often watching him paint the entire night. During this period, I came to learn of the artist’s interest in the work of Leonardo da Vinci. As a recent Ph.D in the History of Art, I knew that Jean-Michel would enjoy perusing through some of the books on Leonardo which I had collected. Having deposited a couple of these books in his studio, Basquiat mentioned to me that he would be interested in producing a print based on the work of Leonardo. In discussing this idea further, we decided that he would draw on clear acetates, transferring the images photographically to silkscreen and printing on whatever kind of paper he thought appropriate. I therefore delivered several sheets of acetate to the artist. “

Leonardo da Vinci, The Vertebral Column (verso), a folio from ‘Anatomical Manuscript A’, c.1510-11, Royal Collection Trust 

In response to the status of the acetates, I offered to remove them from the floor and place them back on the wall. Jean-Michel quickly replied that he would like them left as they were. I found that curious, but having early on come to recognize Basquiat’s complete sense of direction and focus, I knew that he was not only aware of the condition of the acetates but also had a complete well-conceived plan in mind. Another week passed, and Jean-Michel said that the acetates, now again tacked to the wall, were ready for printing. Not only had the artist drawn images and texts on the acetates, but their life on the studio floor had become part of the completed images. The subtlety and delicacy of the images Basquiat produced, as well as the artist’s desire to more fully contextualize them with the drawings of the Italian master, led him to choose a beautiful Japanese rice paper for the presentation of his imagery. What was totally unexpected was how the random markings resulting from lying on the studio floor would not only complement Basquiat’s drawn images, but would also actually give these works a ‘patina’—as though they were as old as the sources they referenced.”

Plate 10

Two Portions

Plate Ten

Youth Beckoning a Right Leg

Teeth

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