Details
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Screenprint on wove paper - Hand signed and numbered in pencil // Yue Minjun's The Three Musketeers (2019-2022) is a vibrant screenprint that showcases his signature style of using self-portraiture and satirical expression. The composition features three figures in front of a turquoise background: a laughing man in a Batman mask (a recurring motif in Minjun's work), a serene Buddha statue, and a cartoon-like character wearing a hat resembling a police cap. The juxtaposition of these elements blends humor with cultural and philosophical symbolism, creating a surreal and playful narrative. The laughing figure's exaggerated grin is emblematic of Minjun's exploration of human emotion and societal critique. The bright, flat colors and bold lines give the print a graphic, almost pop-art aesthetic. The piece, hand-signed and numbered by the artist, is a captivating example of his commentary on identity and modernity.
The Three Musketeers, 2019-2022
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80 x 100 cm
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Details
Artist
Styles
Screenprint on wove paper - Hand signed and numbered in pencil // Yue Minjun's The Three Musketeers (2019-2022) is a vibrant screenprint that showcases his signature style of using self-portraiture and satirical expression. The composition features three figures in front of a turquoise background: a laughing man in a Batman mask (a recurring motif in Minjun's work), a serene Buddha statue, and a cartoon-like character wearing a hat resembling a police cap. The juxtaposition of these elements blends humor with cultural and philosophical symbolism, creating a surreal and playful narrative. The laughing figure's exaggerated grin is emblematic of Minjun's exploration of human emotion and societal critique. The bright, flat colors and bold lines give the print a graphic, almost pop-art aesthetic. The piece, hand-signed and numbered by the artist, is a captivating example of his commentary on identity and modernity.
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What is new figuration?
Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.
