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Jim Dine"Two Hearts at Sunset" by Jim Dine, 20052005
2005
About the Item
Jim Dine
(B. 1935)
"TWO HEARTS AT SUNSET"
Lithograph in colors on wove paper, c. 2005
Signed and dated in white pencil, lower margin on wove paper
This impression 68 from the edition of 200 signed and numbered by artist
Image Size: 20.5” x 26.25”, Sheet Size: 20.5” x 26.25”
Fresh Bright Colors, Full Margins
Dine began using the heart in his work in 1970 and 1971, taking a ten year hiatus from the imagery soon
after. He resumed using hearts again in the early 1980s. This recent iteration is rendered in vibrant tones
of blue, yellow, red, and black. The hearts appear to float over a black and yellow background, creating a
two-dimensional image. This image exemplifies the artist’s love of color and optical
Jim Dine studied at the University of Cincinnati and the Boston Museum School, and received his B.F.A.
from Ohio University, Athens, where he was also enrolled in the graduate program. Dine moved to New
York City in 1958, where he had his first group (1959) and solo (1960) exhibitions. He instantly became
an active figure in the New York art world, creating and staging many of the first “Happenings” along with
artists Claes Oldenburg and Robert Whitman. Since his first solo exhibition in 1960, Dine’s paintings,
sculptures, photography, and prints have been the subject of nearly 300 solo exhibitions worldwide. In
2008, Dine became the first contemporary artist invited to exhibit at the J. Paul Getty Museum. Dine has
been the subject of nine major retrospectives since 1970.
Dine’s work is held in more than 70 important public collections worldwide, including the Albright-Knox
Art Gallery, Buffalo; The Art Institute of Chicago; The Cleveland Museum of Art; Hakone Open-Air
Museum, Hakone-machi, Japan; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution,
Washington, D.C.; The Israel Museum, Jerusalem; The Metropolitan Museum of Art, New York;
Moderna Museet, Stockholm; Musée national d’art moderne, Centre Pompidou, Paris; Museum of Fine
Arts, Boston; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; San
Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum;
Amsterdam; Tate Gallery; London; Walker Art Center, Minneapolis; and Whitney Museum of American
Art, New York.
- Creator:Jim Dine (1935, American)
- Creation Year:2005
- Dimensions:Height: 26 in (66.04 cm)Width: 32 in (81.28 cm)Depth: 2 in (5.08 cm)
- More Editions & Sizes:Impression 68 from the edition of 200Price: $9,500
- Medium:
- Movement & Style:
- Period:
- Condition:This piece is in a brand new custom frame with UV protective plexiglass.
- Gallery Location:Hinsdale, IL
- Reference Number:
Jim Dine
The Ohio-born artist Jim Dine brought his ever-shifting, multidisciplinary vision to New York in 1958, a time of transition in the American art world. Abstract Expressionism, which had dominated the scene for years, was on the wane, and a group of young artists, including Dine, Allan Kaprow, Jasper Johns and Robert Rauschenberg, was eager to replace it with a movement that flipped the traditional rules of art-making on their head.
Beyond dissolving the boundaries between mediums and genres, attaching found objects and detritus to their canvases, these revolutionaries began staging performative “happenings” in public spaces, redefining the very definition of a work of art. As Pop art took form, Dine used objects with personal significance, like his paintbrushes, to transform his paintings into two-dimensional sculptures. He was included in the Norton Simon Museum’s 1962 “New Painting of Objects,” often considered the first true Pop art exhibition in America, but he remained a chameleon, constantly changing his style, material and technique.
More than his contemporaries, Dine has forged new paths in drawing, scrawling words and names across the canvas to create graphic, abstract landscapes. He is obsessed by certain motifs — such as hearts and his own bathrobe — which recur in various forms throughout his oeuvre. He has occasionally worked in classical genres, such as portraiture, as exemplified by the 1980 aquatint Nancy Outside in July. He has also co-opted the bold, graphic vocabulary of advertising and commercials, as in the sleek 2010 composition Gay Laughter at the Wake.
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