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  • Design Credit: Kacy Ellis, Photo Credit: Wynn Myers. Dimensions: H 17.5 in. x W 12 in.
  • Design Credit: Jeremiah Brent Design, Photo Credit: Nicole Franzen. Dimensions: H 17.5 in. x W 12 in.
  • Design Credit: Sarah Shetter, Photo Credit: Boris Breuer. Dimensions: H 17.5 in. x W 12 in.
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Jim Dine
Basil in Black Leather Suit from "The Picture of Dorian Gray"

1968

$1,500

About

Pictured in this monochromatic Jim Dine lithograph is Basil Hallward, the artist companion of Dorian Gray in Oscar Wilde's novel The Picture of Dorian Gray. Wearing a sleek black leather suit with wide pant legs, the male figure looks to his right, with a hand placed jauntily on his hip. Drips of mauve ink highlight the text written near his feet: "Basil in Black Leather Suit". A bloom of translucent orange-red ink emerges from the man's back, a reference to Basil's death by knife wound at the hands of Dorian Gray. Lithograph by Jim Dine from one of his most important artist’s books – completely designed and illustrated by Dine. Signed proof aside from Edition A (edition 200) and Edition C (edition 100). Signed by the artist lower right in pencil. Dine was working on the sets and costumes for a stage version of Oscar Wilde’s famed novel, and when the play did not come to fruition, Petersburg Press proposed that he make a book using his annotated typescript of the play. Dine then drew 12 lithographs illustrating his costume and set designs which are included in the book and an additional 4 etchings, separate from the book, which are included loose in Editions A and C. Dine would go on to be a frequent Petersburg Press collaborator. A copy of this print is in the collection of National Gallery of Art, Maryland; and the Metropolitan Museum of Art, New York. The book is in the collection of the Victoria and Albert Museum, London; Cleveland Museum of Art, Cleveland; Albright-Knox Museum, Buffalo; National Gallery of Art, Washington D.C.; MoMA, New York; and the Harry Ransom Center, University of Texas, Austin. Catalogue reference: Jim Dine: Complete Graphics with essay by John Russell, Galerie Mikro Berlin Kestner Gesellschaft Hannover Petersburg Press London 1970, 47c

Details

  • Creator
    Jim Dine (1935, American)
  • Creation Year
    1968
  • Dimensions
    Height: 17.5 in. (44.45 cm)Width: 12 in. (30.48 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    This print is not pre-owned and has been stored in the publisher's archives since publication. As published with some aging of the paper tone.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121125576322

Shipping & Returns

  • Shipping
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About the Artist

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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About the Seller
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