Keith Haring (1958-1990) (after) - "Untitled, 1984" - (44,5x60cm)

- Keith Haring (after), authorized giclée on watercolour paper (approx. 300gsm - refers to paper thickness/density).

- Copyright Keith Haring Foundation, by McGaw Graphics. Licensed by Artestar New York.

- Plate signed.

- Stamp on verso.

- Size: 44,5 x 60 cm.

- Condition: excellent. Never framed, never exposed.

- Created in 1984, at the peak of Keith Haring’s meteoric rise within the New York art scene, Untitled embodies the artist’s instantly recognizable visual language: bold black contours, rhythmic repetition, radiant energy lines, and interlocking figures that transform the surface into a pulsating field of movement. Emerging from the cultural ecosystem of subway drawings, street art, club culture, and the downtown dialogue with Jean-Michel Basquiat, Andy Warhol, and Kenny Scharf, this composition translates the vitality of urban life into a universal, graphic iconography that remains one of the most influential visual systems of the late twentieth century.

The stacked, dancing bodies form a totemic structure that recalls both tribal symbolism and modernist abstraction, revealing Haring’s deep awareness of art history from the flattened dynamism of Henri Matisse’s cut-outs to the linear purity of Pablo Picasso and the narrative clarity of Fernand Léger. At the same time, the work anticipates the visual strategies of contemporary graphic culture, street aesthetics, and digital image-making. The repetition of simplified human forms generates a sense of collective energy and social unity, a central theme in Haring’s practice, where art becomes a democratic and accessible language capable of crossing cultural, linguistic, and geographic boundaries.

Its powerful black-and-white contrast makes it exceptionally versatile for sophisticated interiors from minimalist architectural spaces to design-driven environments where it functions as both a visual anchor and a cultural statement. The composition’s balance between graphic immediacy and conceptual depth places it in direct dialogue with the global market for works by Banksy, KAWS, Shepard Fairey, Damien Hirst, and Takashi Murakami.

As one of the defining images of the 1980s visual revolution, this work represents the intersection of art, music, performance, and social activism that shaped the decade. For those focused on contemporary art, urban iconography, and the enduring legacy of the New York School’s second generation, Keith Haring’s Untitled, 1984 stands as a timeless symbol of movement, community, and the power of line.