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The overwhelming visual dynamism of Untitled vehemently declared the arrival of the brilliant, then virtually unknown young artist into a world that would be forever transformed by his paintings.

In an explosive torrent of gestural vigor, Untitled embodies the indomitable force of Basquiats creative insurgency, which, in a flourishing conflagration of word, color, and mark, sent shockwaves through downtown Manhattan in the early 1980s and inaugurated a radical return to figurative painting.

The intricately accreted layers evoke a graffiti-scarred wall, characterized by accretive strata that in their very build-up and lush tonal variety divulge a sense of temporal progression.

Below a saturated ground of vibrant blue pigment, the shimmering signifiers of Basquiats hieroglyphic scrawls peer through, offering the elusive promise of legibility without conceding meaning.

Les femmes d' Alger (Version ' O') Pablo Picasso (1881-1973) Les femmes d' Alger (Version ' O') signed ' Picasso' (upper right); dated '14.2.55.' (on the reverse) oil on canvas 44 7/8 x 57 5/8 in. Three Studies of Lucian Freud Francis Bacon (1909-1992) Three Studies of Lucian Freud titled and dated '3 studies for portrait Lucian Freud 1969' (on the reverse of the center panel) oil on canvas, in 3 parts each: 78 x 58 in. L'homme au doigt Alberto Giacometti (1901-1966) L'homme au doigt signed and numbered ' A Giacometti 6/6' (on the top of the base); inscribed with foundry mark ' Alexis Rudier Fondeur Paris' (on the back of the base) bronze with patina and hand-painted by the artist Height: 69 7/8 in. Untitled Raw, uncensored, and fiercely magnificent, Untitled from 1982 is a virtually incomparable masterwork from Jean-Michel Basquiats revolutionary body of paintings, executed in the very first month of the pivotal year of 1982.

Emblazoned upon the monumental canvas, the visceral impact of the artists painted searing visage is absolute and immediate, consuming the viewers gaze in an impenetrable maelstrom of violent gesture, chromatic radiance, and pure, unbridled electric charge.

57) In its searing, talismanic rendering of a skull, Untitled heralds the imminent resurgence of figurative painting through New York in the 1980s. Badlands, The greatest city in the world was broke and all broke down and it was exciting.(Glenn OBrien, Basquiat and the New York Scene, 1978-82, in Exh. 38) Within this cacophonous context, a new style of painting began to emerge, one that privileged the immediacy of the isolated image over narrative, and the metaphoric strength of cultural signifiers over the interpretive freedom of undiluted abstraction.These artists share an acute awareness of the times they live in, making their work highly sensitized to objective reality. As malevolent mirror-images, the pair of shamanistic skulls ushered in a provocative artistic shift that, in its unfiltered grit and guttural symbolism, expressed the vibrant reality of urban life with thrilling authenticity.Although critical, disorienting and provocative, they address an overburdened, highly complex nervous system. As an indisputable masterpiece from the singular formative year of Basquiats meteoric career, the unveiling of Untitled marks an extraordinary moment within the legacy of Contemporary Arts most mythic and revered figure.Then, conjuring the specter of SAMO, notorious vandal/hero of the streets, Basquiat violently scratches out his illusory hieroglyphs, leaving only the suggestion of signifier in a shimmering crown around the head of his gargantuan skull.Despite the variegated hues layered into the upper portion of the canvas, the potent symbol of Basquiats notorious street tag the iconic three-pointed crown gleams though the chroma, a ghostly silhouette of raised oil stick.

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