During the 1960s Klarwein's work would be appreciated and utilized on several records by some of the decade's most progressive musicians. Klarwein's painting Annunciation (1961) was seen in reproduction by the musician Carlos Santana, who subsequently used it as the cover image of his band Santana's second album Abraxas (1970). In the following years Klarwein produced comparably striking designs for the covers of two Miles Davis albums, Bitches Brew (1969) and Live-Evil (1971), as well as a portrait of Jimi Hendrix[1], which was supposed to have been used for the guitarist's collaboration album with big band leader Gil Evans, which never came to fruition due to the guitarist's death.[1] His painting Zonked (1970), originally planned for use on a Betty Davis album of the same name,[1] would later be used as the cover of a Last Poets album Holy Terror (1995). (For a complete list of albums which feature Klarwein's art, see below.) The association of his images with these very successful and widely admired counterculture musicians made Klarwein's work known outside the circle of lovers of contemporary art. Many of these paintings, and others, were included in Klarwein's first book Milk n' Honey (1973).
During the 1960s and 70s, Klarwein would occasionally search for cheap paintings at flea markets and "improve" them, painting over them or adding things at his whim. Klarwein made over a hundred of these "improved paintings" throughout his career.Here we present to you one of the most legendary painters of our century. Bless in Peace brother!
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