Jean-Michel Basquiat's paintings of kings are a prominent and recurring motif in his work, reflecting his fascination with royalty, power, and identity. Through his depiction of kings, Basquiat explored themes of self-empowerment, historical legacy, and cultural significance, often using the crown as a central symbol. His kings are not just representations of regal figures but are imbued with deeper meanings that resonate with his personal experiences and broader socio-political commentary.

One of Basquiat's most iconic works featuring a king is Charles the First (1982). This painting pays tribute to jazz musician Charlie Parker, whom Basquiat admired for his musical genius and his struggle against racial prejudice. The title references both Parker and King Charles I of England, creating a layered narrative that intertwines the realms of music, history, and royalty. The crowned figure in the painting, combined with text and symbols, elevates Parker to a royal status, emphasizing his importance and legacy in African American culture. Through this work, Basquiat highlights the achievements of black individuals and challenges their historical marginalization (MoMA).

The crown itself is a significant symbol in Basquiat's oeuvre, often appearing in his self-portraits and other works to denote authority and self-worth. In pieces like Self-Portrait as a Heel (1982), Basquiat crowns himself, asserting his identity and defiance against the constraints imposed by society and the art world. The act of crowning is a powerful statement of self-empowerment, a reclaiming of dignity and recognition that had been historically denied to black artists. Basquiat's use of the crown symbolizes his aspiration to be seen as a king in his own right, a leader and a trailblazer (Whitney Museum).

In Hollywood Africans (1983), Basquiat again employs the crown to address issues of representation and identity. The painting features Basquiat alongside his friends Toxic and Rammellzee, all depicted as crowned figures. This work critiques the stereotypical portrayal of black individuals in the entertainment industry, juxtaposing their real identities as artists with the limited roles they are often confined to in popular culture. By crowning himself and his friends, Basquiat challenges these stereotypes and asserts their true worth and potential (Tate).

Basquiat's painting Untitled (Crown) (1982) focuses solely on the symbol of the crown, emphasizing its importance in his visual language. The crown is depicted with bold lines and vibrant colors, standing out against the chaotic background. This piece can be seen as a distillation of Basquiat's exploration of power and identity, capturing the essence of his artistic vision. The crown, stripped of any figure, becomes a universal symbol of empowerment and resistance, reflecting Basquiat's broader themes of self-assertion and cultural pride (Guggenheim).

Through his paintings of kings and the recurring motif of the crown, Jean-Michel Basquiat created a powerful narrative that celebrated black excellence and critiqued historical and contemporary injustices. His kings are not just symbols of power but are also statements of identity and resilience. By crowning himself and others, Basquiat asserted their rightful place in history and the art world, challenging the norms and pushing the boundaries of what it means to be a king. His work continues to inspire and resonate, reflecting the enduring impact of his vision and legacy (The Broad).