Keith Haring - Untitled (cup man) - Artestar licensed print

Keith Haring Offset Lithograph (*)
Reproduction of the work “Untitled,” screen print created by Haring in 1989.
Luxury edition on matte high‑quality conservation digital paper (250 g/m²).
Authorized print by Artestar New York. Copyright: Keith Haring Foundation

- Sheet dimensions: 60 x 47 cm
- Image dimensions: 50 x 37 cm
- Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, and is offered in pristine condition).

The work will be carefully handled and packed in reinforced cardboard packaging. The shipment will be sent with tracking number (UPS DPD DHL FedEx).

The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.

(*) Keith Haring was born in 1958 in Reading, Pennsylvania, United States.
He grew up in Kutztown and from a young age showed a great interest in art. He studied graphic design at The Ivy School of Professional Art in Pittsburg, and at 19, already openly gay, moved to New York, where he found inspiration in graffiti art and enrolled at the School of Visual Arts where he received influence from Keith Sonnler and Joseph Kossuth, who encouraged him to train as a conceptual artist after experimenting with form and color.
Haring drew public attention in 1980 when he began drawing cartoon‑like images with markers on New York subways, and later painted white chalk strips on black panels intended for advertising, which earned him more than one arrest.
His clean lines, vivid colors, and active figures carried strong messages about life and unity, and his exhibitions were filmed by photographer Tseng Kwong Chi.
Also around this time, he organized an exhibition at Club 57, and took part in a show in Times Square, where he drew animals and human faces for the first time.
His first solo exhibition was at Tony Shafrazi Gallery in 1981, the same year he took part in the Documenta 7 exhibition in Kassel, Germany.
In 1982 he befriended emerging artists of the era such as Kenny Scharf, Madonna, and Jean‑Michel Basquiat, and even met the famous Andy Warhol.
In 1984 Haring went to Australia and painted several murals in Melbourne and Sydney, and even received payment for his work from the National Gallery of Victoria and the Australian Centre for Contemporary Art.
He also travelled to and painted in Rio de Janeiro, the Paris Modern Art Museum, Minneapolis, and Manhattan.
During this period he even designed a pink jacket that Madonna wore to perform her song “Like a Virgin” on the show “Solid Gold.”
In 1985, the Museum of Modern Art in Bordeaux held a retrospective of his work, and he also took part in the Paris Biennial.
He appeared in November that year on MTV where he painted on a show hosted by his friend Nick Rhodes of Duran Duran.
In 1986 he painted murals in Amsterdam, Paris, Phoenix, and Berlin, he also painted Grace Jones’s body for her music video for the song “I’m Not Perfect,” and opened a shop to sell his works in SOHO.
By then, his works began to reflect the socio‑political problems of the era such as anti‑apartheid, AIDS, and drugs.
He also created pop art pieces for brands like Absolut Vodka, Lucky Strike, and Coca‑Cola, and even designed the cover of the charity album “A Very Special Christmas,” on which his friend Madonna was included.
In 1988 he was included in a select list of artists whose works appeared on Chateau Mouton Rothschild wine labels, and that same year he was diagnosed with AIDS, which led to the founding of the Keith Haring Foundation the following year, aiming to combat social problems related to the disease and to publicize the artist’s work through exhibitions, publications, and licensing.
In June 1989 he painted his last public work on a wall of the San Antonio convent in Pisa. This work was titled “Tuttomondo.”
Keith Haring died on February 16, 1990, at the young age of 32, a victim of AIDS.

(**) “The Cup Man,” 1989, is a vivid testament to the artist’s ability to combine playful imagery with deep symbolic depth. This screen print captures Haring’s characteristic energy, using bold lines, vibrant color planes, and a dynamic composition to create a figure that is at once whimsical and captivating. The central figure, whose segmented torso suggests a layered structure, almost like a matryoshka, is depicted in full movement, with arms raised in an exuberant gesture, radiating vitality and motion. The surrounding lines and shapes amplify this sense of kinetic energy, turning the figure into a beacon of life and animation.
On a striking bluish‑green background with a purple dotted backdrop, the work showcases Haring’s masterful use of contrast and rhythm. The interplay of color, form, and movement embodies Haring’s interest in the universality of human expression, translating joy, vitality, and connectivity into a visual language recognizable at a glance. The figure of the “Cup Man” encapsulates Haring’s exploration of transformation, multiplicity, and the interaction between individual and collective experience, reflecting his lifelong commitment to social issues through accessible imagery.
This work exemplifies Haring’s enduring legacy: his ability to create visually captivating, socially resonant, and deeply human art. It is both a celebration of movement and energy and a moving reflection of Haring’s innovative vision in late 20th‑century contemporary art.