Flowers (Red), 1990
Flowers (Red), 1990
Flowers (Red), 1990
Flowers (Red), 1990
Flowers (Red), 1990
Flowers (Red), 1990
Flowers (Red), 1990

Flowers (Red), 1990

Medium: hand-signed silkscreen on Wove paper
Signature: signed and dated 'K. Haring '90' vertical lower right
Framed size: 44.25 x 56"
Price on Request
Details
Medium: hand-signed silkscreen on Wove paper
Year: 1990
Edition: 133

Sheet size: 39.12 x 50.87"
Image size: 39.12 x 50.87"
Framed size: 44.25 x 56"

Signature: signed and dated 'K. Haring '90' vertical lower right
Reference:
Cantz pg.167

Literature:
Littman, K. Keith Haring: Editions on Paper 1982-1990. New York: Hatje Cantz Publishers, 1993. pg. 167.


About the Work
"Flowers (Red)" is a silkscreen on Wove paper created by Keith Haring in 1990. From the edition of 133, the artwork is signed and dated 'K. Haring '90' vertical lower right. The artwork is framed in a contemporary black frame and has a framed size of 44.25 x 56". The artwork ships framed and accompanied by a certificate of authenticity. 

Keith Haring’s "Flowers" series, created in 1990, reimagines one of art’s most familiar subjects as something bold, urgent, and alive. In the red version, Haring reduces the image to a single monumental flower: an orange bloom rising from a green stem against a charged red ground. The result is simple at first glance, but powerful in its impact — part flower, part symbol, part burst of energy.

What makes the image so compelling is the way Haring refuses to treat the flower as merely decorative. This is not a quiet botanical study. The flower feels animated, almost bodily, with Haring’s black line giving it weight, rhythm, and personality. Set against the saturated red field, the orange and green forms push forward with the immediacy of a poster, a sign, or a public message.

The surface also gives the print its distinctive character. Rather than relying only on flat, clean color, Haring allows painterly marks and vertical drips to remain visible across the composition. These marks are part of the printed image, creating a productive tension between editioned screenprint and handmade gesture. The work has the polish and scale of a major print, but it still carries the feeling of touch, movement, and spontaneity.

Created in the final year of Haring’s life, the "Flowers" series naturally carries emotional weight. Yet the red version does not feel mournful. It feels assertive. The flower becomes an image of resilience: fragile in subject, but forceful in presence. It suggests growth, beauty, renewal, and survival without becoming sentimental.

That balance is part of what makes the work feel so relevant today. Flowers remain universal symbols — used to celebrate, mourn, remember, protest, and express care. Haring understood the power of a simple image to speak across boundaries, and here he turns the flower into something immediate and contemporary: a sign of life standing boldly against intensity.

"Flowers (Red)" is visually direct, emotionally open, and unmistakably Haring. It combines the accessibility collectors love in his work with the depth and poignancy of a late series. Bright, graphic, and full of presence, it is an image of beauty under pressure — and of life insisting on being seen.
About the Artist

Keith Haring (1958 – 1990) rose from New York’s subways in the early 1980s to become one of the most recognizable artists of the late 20th century. His bold lines and iconic figures—radiant babies, barking dogs, dancing silhouettes—bridged street culture and high art, carrying urgent messages about equality, public health, and community. Collaborating across fashion, music, and design, and through his Pop Shop, Haring pioneered the idea that art should be accessible to all. In his short career, he addressed issues from AIDS awareness to apartheid, leaving behind a legacy both playful and profoundly political. Today his works are held by leading institutions including MoMA, the Whitney, the Centre Pompidou, and the Stedelijk, and continue to command strong demand in the international market. Haring’s vision remains as resonant as ever: art as a universal language, alive with optimism and activism.

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