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Jim DineBlue Haircut1972
1972
$3,000
£2,274.76
€2,627.32
CA$4,209.18
A$4,688.94
CHF 2,473.34
MX$56,854.80
NOK 31,464.45
SEK 29,311.13
DKK 19,619.19
About the Item
Jim Dine (b. 1935) was one of the original artists who defined Pop Art in the 1960s and redirected American art away from abstraction by including depictions of objects and items from daily life.
Like Jasper Johns and Andy Warhol, Dine embraces quintessential American images and icons. He uses recognizable forms as the basis for bold, colorful compositions flirting with abstraction.
Over the succeeding decades, Dine has become most well-known for his painting and printmaking of ubiquitous everyday objects like bathrobes, neckties, hearts, and tools reducing them to their essence or transforming them into abstract allusions.
In 1970, while exploring Paris, the artist fell upon a copy of Historia, a French magazine specializing in historical topics. The cover featured a portrait of French poet Arthur Rimbaud, inspiring the artist to explore his surreal and transgressive writing. Dine's admiration for the poet's work inspired a series of portraits that recall Rimbaud's cover image.
"Blue Haircut" captures Rimbaud with a distant, almost vacant expression, his portrait floating in a void of negative space that amplifies a sense of isolation. A spectral hand extends from the seam of the composition, reaching toward the poet's face.
A cyan-blue morning glory is planted at the margin, emerging as a singular stroke of color. This juxtaposition of vibrant and subdued elements underscores the emotional tension in this striking homage.
Today, Dine’s work is held in prominent collections worldwide, including the Museum of Modern Art (New York), the Tate (London), the Centre Pompidou (Paris), and the Guggenheim (New York).
Questions about this piece? Contact us.
Visit our Toronto gallery on Thursdays or by appointment.
"Blue Haircut"
USA, 1972
Etching with offset lithograph
Signed and dated by the artist
From an edition of 75
21"H 19.75"W (work)
Framed
Very good condition.
- Creator:Jim Dine (1935, American)
- Creation Year:1972
- Dimensions:Height: 21 in (53.34 cm)Width: 19.75 in (50.17 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition.
- Gallery Location:Toronto, CA
- Reference Number:Seller: 02-251stDibs: LU215215765942
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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Jim Dine was one of the key artists who defined American Pop Art in the 1960s.
Like Jasper Johns and Andy Warhol, Dine appropriated quintessential American images and icons.
He used ubiquitous and familiar forms, like tools, food, and stylized clothing, as the basis for bold and colorful compositions inspired by Dada assemblage, Abstract Expressionism, and collage techniques.
The "Heart" is the most celebrated icon in Dine's oeuvre. He uses its motif to explore pattern, color, and texture across mediums.
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The background features tactile grapefruit splotches that dance across the sheet to reveal and accentuate stretches of negative space. The result is a striking illusion of depth that simultaneously camouflages the hearts and accelerates them to the foreground of the work.
Questions about this piece? Contact us.
or visit our Toronto gallery on Thursdays or by appointment.
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In the mid-1950s Warhol became synonymous with shoes after creating a successful campaign for shoe retailer Miller & Sons. Although Warhol had a parallel art practice, primarily focused on drawing, surpassing the designation of “commercial artist” proved difficult. Consider that this era was the height of popularity for the Abstract Expressionist painters. Despite the prevailing aesthetic, Warhol continued to be dedicated to making elegant or playful line drawings.
This untitled illustration is an intimate example of Warhol at his best in the 1950's. It is ambiguous whether this was created for a client, or whether Warhol was inspired by an encounter in real life. With the lightest touch, the artist renders a glamorous woman's profile as she holds a young child in her arms.
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Questions about this piece? Contact us.
Visit our Toronto gallery on Thursdays or by appointment.
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