Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 74 works by David Salle in our catalogue
In short
To Be Titled is the David Salle painting that draws the most eyes; the original belongs to the Elgiz Museum of Contemporary Art, İstanbul. After it, the eye goes to Flying down and Untitled (1991). Among the 74 works of David Salle in our catalog, these 71 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
In the vast, complex landscape of postmodernism, few artists navigate the intersection of high culture and popular imagery with as much dexterity as David Salle. His work serves as a profound meditation on the fragmented nature of modern perception, acting as a stage where seemingly disparate worlds collide. At first glance, the viewer is met with a striking duality; the canvas presents a visual dialogue between chaos and order. One…
Untitled (583)
12
Untitled (245)
13
Untitled (631)
14
Mingus
15
Angels in the Rain
16
Bigger rack
17
Que Penses-Tu - Beau Sphinx
18
Untitled (904)
19
Float
20
Mirror (Blue)
21
Untitled (803)
22
Untitled (616)
23
Untitled (984)
24
Untitled (974)
25
Mr. lucky
26
Untitled (181)
27
Untitled (131)
28
Untitled (124)
29
Picture builder
30
Untitled (494)
31
Untitled (655)
32
Sailor
33
Untitled (322)
34
The imagists
35
Strawberry shake
36
Mingus in Mexico
37
Untitled (695)
38
Dean martin
39
Blue quilt
40
Untitled (853)
41
Grandiose Synonym for Church
42
Demonic roland
43
Untitled (162)
44
Untitled (119)
45
Lake district
46
Outside her house
47
Untitled (475)
48
Last light
49
Orange raft
50
Existentialism
51
Untitled (654)
52
Snow white
53
Good-bye a
54
Camus
55
With all due respect sir - we need modesty blaise
56
Untitled (722)
57
No hard feelings
58
Closer
59
The mennonite button problem
60
Green raft
61
Monkey cart
62
Narrative theory
63
Enormous shelf
64
Smoke
65
Cabin in the Woods
66
Frank Comes Out of the Doorway
67
Girl still reading
68
Salami with Landscape
69
Rainy night in rubber city
70
Wave
71
Commando
The four subjects that come back most often in these originals, each with its finest example.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by David Salle | Paintings from this list |
|---|---|---|---|
 Elgiz Museum of Contemporary Art |
İstanbul | 1 | To Be Titled |
All the dated David Salle originals shown here belong to a single year, 1991: they appear in order of fame.
Pick a year to see its originals.
To Be Titled, Elgiz Museum of Contemporary Art, İstanbul. Flying down and Untitled (1991) come next.
To Be Titled, Flying down, Untitled, Old bottles, The Raphael - VII, The raphael - v, The Raphael - II, Untitled (255), Untitled (855) and Untitled (713). The ranking above gives each one's year and museum.
Our catalog holds 74 works by David Salle.
Mostly in Elgiz Museum of Contemporary Art (İstanbul). The museum table above lists them all.
Layered imagery (4), Juxtaposition (3) and Melancholy (2), across the 71 works on this page.
Painting, for 2 of the 71 works on this page.
Postmodern, judging by the originals on this page.
David Salle, born in Norman, Oklahoma, in 1952, is a pivotal figure in the landscape of postmodern painting. His work isn’t easily categorized—he’s been associated with neo-expressionism, simulacrum, bad painting, and new image painting—yet transcends these labels through his singular approach to visual language. Salle's career has unfolded as a fascinating dialogue between high art and popular culture, meticulously constructed layers of imagery that challenge traditional notions of authorship and narrative. He’s not simply assembling images; he’s building complex systems of reference, inviting the viewer into an intricate web of associations and questioning the very nature of representation.
Salle's early artistic development was profoundly shaped by his time at the California Institute of the Arts, where he studied under John Baldessari. This mentorship proved crucial, exposing him to a radical approach that prioritized process over product—a philosophy that would become central to Salle’s own practice. He began experimenting with cinematic techniques, notably montage and split-screen presentation, reflecting a fascination with the fragmented nature of contemporary media. Moving to New York City in 1976, he quickly established himself within the vibrant art scene, initially working for Vito Acconci and collaborating with Karole Armitage on stage design, further honing his skills in visual composition and layering.
At the heart of Salle’s artistic vision lies a masterful manipulation of juxtaposition. His paintings are not unified compositions but rather carefully orchestrated collisions of disparate imagery—a technique he himself describes as “collage painting.” He draws upon an astonishingly diverse range of sources: historical art masterpieces, advertising campaigns, comic books, fashion photography, and even pornographic magazines (an early influence that continues to subtly inform his work). This isn’t random assemblage; each element is deliberately placed within the context of the others, creating a dynamic tension between familiarity and strangeness.
Salle's process often begins with photographs—a collection he meticulously curates, reflecting his interest in capturing fleeting moments and visual details. He then builds upon these images, adding layers of paint, text, and other elements until the composition feels complete. Crucially, Salle rejects any attempt at a singular narrative or dominant theme. Instead, he embraces ambiguity, allowing the viewer to construct their own interpretations from the complex interplay of imagery. This deliberate lack of closure is characteristic of postmodernism—a rejection of grand narratives in favor of fragmented perspectives.
Salle’s artistic lineage is remarkably broad, drawing inspiration from a vast array of sources spanning centuries and disciplines. He cites the influence of Baroque masters like Velázquez and Bernini, Romantic painters such as Géricault, Impressionists like Cézanne, Expressionists like Solan Selame, Surrealists like Magritte and Giacometti, and Pop artists like Jasper Johns and Robert Rauschenberg. Furthermore, he acknowledges a significant debt to Francis Picabia, particularly in his use of compositional elements and the exploration of visual paradoxes.
His style is instantly recognizable—a deliberate embrace of imperfection and “bad painting.” Salle actively rejects traditional notions of skill and virtuosity, celebrating the accidental and the flawed. This isn’t a sign of carelessness; rather, it's a conscious strategy to disrupt expectations and challenge the viewer’s assumptions about art. The slightly clumsy brushwork, the uneven surfaces, and the seemingly random placement of elements contribute to a sense of immediacy and authenticity—as if the painting has emerged from a chaotic, overflowing studio.
Several works stand out as particularly significant examples of Salle’s artistic vision. “Smoke” (1983), for instance, captures the frenetic energy of urban life through a fragmented composition of figures and objects. "Untitled (655)" showcases his ability to seamlessly blend high and low imagery, while "Float" exemplifies his exploration of surrealist themes and layered textures. His series of paintings during the COVID-19 pandemic, “Tree of Life,” offers a poignant reflection on contemporary anxieties and cultural references.
David Salle’s impact on contemporary art is undeniable. He demonstrated that painting could be both visually arresting and intellectually challenging—a powerful antidote to the prevailing trends of minimalism and conceptualism. His work continues to inspire artists today, pushing the boundaries of representation and inviting us to reconsider our relationship with image and meaning. Salle's legacy lies not in creating easily digestible narratives but in fostering a dynamic dialogue between past and present, high art and popular culture—a testament to the enduring power of visual language.
