Montreux Complete Portfolio (Littmann PP. 24–27) by Keith Haring comprises of three screenprints created for the Montreux Jazz Festival, Together, the prints translate the atmosphere of live music, dance and nightclub culture into a distilled structure through rhythm, repetition and movement.

Music occupied a central role within Haring’s social and artistic world during the early 1980s. Through his partner Juan Dubose, who worked as a DJ within New York’s downtown club scene, Haring remained closely connected to spaces such as Paradise Garage, Club 57 and the Mudd Club. These environments informed the structure of his imagery as much as its atmosphere, with repetition, improvisation and rhythmic variation functioning visually in ways analogous to jazz, hip-hop and dance music.

Produced in 1983, the Montreux portfolio coincides with Haring’s rapid emergence onto an international stage, as his subway drawings evolved into exhibitions, public commissions and collaborations spanning music, fashion and performance culture. The Montreux Jazz Festival itself had expanded beyond traditional jazz into funk, electronic and experimental programming, making Haring’s particularly suited to the festival’s evolving identity. Viewed together, the three screenprints operate less as static poster designs but more as variations on a single rhythmic structure. Repetition and variation move across the portfolio in the manner of musical improvisation, with each work adjusting colour and balance while maintaining a shared visual tempo.

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