Jean-Michel Basquiat's crown motif is one of the most recognizable symbols in his body of work, appearing frequently across his paintings. The crown represents a complex interplay of themes, including royalty, power, and Basquiat’s own ambitions and struggles within the art world.

The crown first appeared in Basquiat's 1981 painting "Red Kings," which features a double portrait with Basquiat’s initials subtly embedded, indicating a self-portrait alongside a depiction inspired by Picasso. This duality reflects Basquiat’s admiration for Picasso and his desire to place himself within the lineage of great artists. The crowns in his works are not just symbols of royalty but also a commentary on his aspirations and identity as an artist of African descent in a predominantly white art world (Jean-Michel Basquiat) (Every Painter Paints Himself).

Basquiat’s use of the crown can be seen as a form of self-empowerment and a statement of his artistic and cultural identity. It signifies his attempt to reclaim the image of black figures as kings and queens, countering historical narratives that marginalized African heritage. This reclamation is particularly poignant given the influence of African art on Western modernists like Picasso, whom Basquiat admired and critiqued through his work (Incredible Art) (Jean-Michel Basquiat).

The crown motif is also deeply personal, often symbolizing Basquiat’s own struggles and triumphs. In paintings such as "Charles the First" (1982), the crown appears alongside text and imagery that reflect his experiences and views on fame and the precariousness of life. The phrase "most kings get their head cut off," written in the painting, underscores the vulnerability and transient nature of power, a theme that resonates with Basquiat’s own life and career (Incredible Art).

Moreover, the crown's presence in Basquiat’s art is not limited to self-portraits or direct representations of power. It also appears in various contexts, often accompanying figures from his visual lexicon, such as in "Pez Dispenser" (1984), where a crowned dinosaur merges elements of childhood nostalgia with a critique of consumer culture. This versatility highlights Basquiat’s ability to infuse his work with multiple layers of meaning, using the crown as a versatile symbol of both personal and collective identity(MyArtBroker) (Every Painter Paints Himself).

Jean-Michel Basquiat’s crown paintings are rich with symbolic meaning, reflecting his complex relationship with identity, power, and art history. The crowns serve as both a declaration of his place within the art world and a critique of the cultural and historical contexts that shaped his life and work. Basquiat’s crowns are a testament to his ability to navigate and challenge the artistic conventions of his time, making them enduring symbols in contemporary art.