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Jim DineJim Dine: Dorian Gray's Stomach from "The Picture of Dorian Gray" black etching1968
1968
About the Item
This humorous black and white Jim Dine etching features what is ostensibly the imprint of an inked stomach. Around the print, black marks, scribbles, and dots complement the text written at the top of the sheet: “Imprint from Dorian Gray’s Stomach”
Etching by Jim Dine from one of his most important artist’s books – completely designed and illustrated by Dine. Signed proof aside from Edition B (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 the Whitney Museum of Art, New York; Museum of Fine Arts, Boston; British Museum, London; 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, 47j
- 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: LU121125576712
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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