Italia. Collana Monumentale. -Il battistero e le chiese, romaniche di Firenze. testo di U. Monneret de Villard.--L'eglise de S. Maria de Florence. Avec texte par G. Poggi.--La Basilica di San Marco in Venezia. Con Testo di L. Marangoni.--Der Dogenpalast in Venedig. mit text von P. Ubertalli.--Il S. Petronio di Bologna. Con P. Ubertalli.--Pompei. With text by D.G.

Firenze, Olschki Ed. 1992, cm.17x24, 234 pp., Coll.

With an essay of Eleanor Nairne. Directed and produced by Benedikt Taschen. Koln, Taschen 2018, cm.29x39,5, pp.500 illustrazioni a colori, legatura editoriale in tutta tela, sopraccoperta figurata a colori. The legend of Jean-Michel Basquiat is as strong as ever. Synonymous with New York in the 1980s, the artist first appeared in the late 1970s under the tag SAMO, spraying caustic comments and fragmented poems on the walls of the city. He appeared as part of a thriving underground scene of visual arts and graffiti, hip hop, post-punk, and DIY filmmaking, which met in a booming art world. As a painter with a strong personal voice, Basquiat soon broke into the established milieu, exhibiting in galleries around the world. Basquiats expressive style was based on raw figures and integrated words and phrases. His work is inspired by a pantheon of luminaries from jazz, boxing, and basketball, with references to arcane history and the politics of street lifeso when asked about his subject matter, Basquiat answered royalty, heroism and the streets. In 1983 he started collaborating with the most famous of art stars, Andy Warhol, and in 1985 was on the cover of The New York Times Magazine. When Basquiat died at the age of 27, he had become one of the most successful artists of his time. This book allows an unprecedented insight into Basquiats art, with pristine reproductions of his most seminal paintings, drawings, and notebook sketches. In large-scale format, the book offers vivid proximity to Basquiats intricate marks and scribbled words, further illuminated by an introduction to the artist from editor Hans Werner Holzwarth, as well as an essay on his themes and artistic development from curator and art historian Eleanor Nairne. Richly illustrated year-by-year chapter breaks follow the artists life and quote from his own statements and contemporary reviews to provide both personal background and historical context.