Le Mans 84
Le Mans 84
Signed Print
Keith Haring
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Medium: Screenprint
Edition size: 50
Year: 1984
Size: H 120cm x W 140cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2021 | Oger-Blanchet - France | Le Mans 84 - Signed Print | |||
| February 2020 | Oger-Blanchet - France | Le Mans 84 - Signed Print | |||
| November 2019 | Oger-Blanchet - France | Le Mans 84 - Signed Print | |||
| August 2019 | Oger-Blanchet - France | Le Mans 84 - Signed Print | |||
| December 2017 | Cornette de Saint Cyr Paris - France | Le Mans 84 - Signed Print | |||
| April 2016 | Oger-Blanchet - France | Le Mans 84 - Signed Print |
Meaning & Analysis
Le Mans 84 is a signed screen print released in an edition of 50 by renowned pop artist, Keith Haring. In 1984, Hervé Perdriolle, a French photographer and a founder of the artistic association Art and Sport Industry, initiated an encounter between Haring and Francois Boisrond as part of 24 hours of Le Mans, the highly popular automobile race. ASI association was famous for organising events for the Le Mans race as Hervé Perdriolle was committed to the idea of finding a meeting point between arts, sport, and culture.
This poster belongs to the series of artworks produced by Haring during the event, and reminds one that although his artistic identity originates in street art, Haring left a lasting imprint on the world of commercial art. Placed at the very centre of the poster is a yellow clock supported humorously by wings and human legs. With an automobile car attached on top of the clock, the design conflates the symbols of high speed, time pressure, and adrenaline to mediate the excitement involved in the event’s vibrant, competitive spirit.
Similarly to Francois Boisrond’s 24h du Mans 84, the dominant colours of Haring’s poster are highly saturated red and yellow. Key objects featured in the artwork are outlined in black contours. The vividly thick lines, combined with gaudy colours and the cartoon-like, simplistic way of rendering objects, represent the distinctive features of Haring’s visual language.