Keith Haring
Chocolate Buddha 1-5, 1989
The complete set of five lithographs in colours on Arches Infinity paper
Each sheet: 55.8 x 70.4 cm. (22 x 27 ¾ in.)
Each signed, numbered and dated in pencil
114217
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The complete set of five lithographs in colours, 1989, on Arches Infinity paper, each signed, numbered and dated in pencil, from the edition of 90 (there were also fifteen artist's...
The complete set of five lithographs in colours, 1989, on Arches Infinity paper, each signed, numbered and dated in pencil, from the edition of 90 (there were also fifteen artist's proof sets), published by Editions F. B., Paris, each sheet: 55.8 x 70.4 cm. (22 x 27 ¾ in.)
In 1989, Keith Haring completed a series of five lithographs entitled ‘Chocolate Buddha.’ The series employs Haring’s distinctive clear-line figurative style, while exploring more complex and integrated compositions. Limbs, objects, and creatures are all prominent, forming complex patterns of striking colours and intricate lines. By limiting himself to the use of two tone print, Haring’s bold, thick lines maintain an eye-catching simplicity.
In the ‘Chocolate Buddha’ series, each print speaks to the pervasive impacts of modern society and mass media. The outline of figures disintegrate among the swirling patterns, seamlessly melting together. Haring’s composition of intertwined forms mirrors the loss of identity in a crowd, suggesting how swiftly we may lose ourselves within the confines of society.
In 1989, Keith Haring completed a series of five lithographs entitled ‘Chocolate Buddha.’ The series employs Haring’s distinctive clear-line figurative style, while exploring more complex and integrated compositions. Limbs, objects, and creatures are all prominent, forming complex patterns of striking colours and intricate lines. By limiting himself to the use of two tone print, Haring’s bold, thick lines maintain an eye-catching simplicity.
In the ‘Chocolate Buddha’ series, each print speaks to the pervasive impacts of modern society and mass media. The outline of figures disintegrate among the swirling patterns, seamlessly melting together. Haring’s composition of intertwined forms mirrors the loss of identity in a crowd, suggesting how swiftly we may lose ourselves within the confines of society.
