Haring’s confident hand draws strong, self-assured strokes, eschewing a pre-meditated schematic plan for spontaneous genius; never erasing or reworking, his virtuosic gestural ingenuity flows directly through his brush onto his support. Unmistakably charged by the frenetic, exuberant brushwork and expressive drips throughout the composition, the present work communicates an infectious energy and joy. Rendered in Haring’s characteristic graphic lines, simplified forms, and playful whimsy, "Red, Yellow, Blue #24" epitomizes the artist’s signature pictorial practice of assimilating street art and graffiti with highbrow culture and canonical reference.

An important and engaging work from latter part of Harring’s tragically curtailed life, the present work is an exuberant demonstration of the way that his style evolved, moving away from the instinctiveness of the subway drawings and towards a more established art historical tradition. Drawing upon the weighty iconography of the classical canon, Haring assimilates features from a variety of modern masters into his own unique Pop style. From Picasso he takes an experimentation with perspective and Cubist sensibility; from Pollock, the spontaneity of chance that can transform a painting in its creation; from Legér, the clean black lines that shape his figures; and from Matisse, the blocks of color that are enhanced by structure and juxtaposition.

"Red, Yellow, Blue #24" incorporates all of these elements and seamlessly harmonizes them into Haring’s quintessential visual vocabulary to produce a masterful expression of an artist at the peak of his painterly powers.