Jim Dine
The Woodcut Bathrobe
1975

Name: The Woodcut Bathrobe
Brand: Jim Dine
Price: 21600 USD
Availability: InStock

$21,600

About

TECHNICAL INFORMATION: Jim Dine The Woodcut Bathrobe 1975 Woodcut and lithograph on Natsume 4007 paper 36 x 24 in. Artist's Proof (A.P.) Pencil signed, dated and numbered Accompanied with COA by Gregg Shienbaum Fine Art. Condition: This work is in excellent condition. Frame: This work is framed in a light wood frame with matte, as shown in photos. ABOUT THE WORK: Jim Dine began painting bathrobes in 1964; some of them were titled or subtitled as self portrait. The bathrobe became a motif in his repertoire which he has returned to on many occasions, in prints as well as paintings. Though he claimed never to wear a bathrobe, nonetheless these are all, in a way, portraits and self portraits. Dexter's Four Robes illustrates the enduring importance of the bathrobe motif in Dine's work, a motif that he has been using over the years in countless printed works to depict mostly himself, but also his wife and people around him. This subject came to him as source of inspiration after coming across an image of a man's dressing gown in a newspaper advertisement. ABOUT THIS ARTIST: Jim Dine was born in Cincinnati, Ohio in 1935. He studied at the University of Cincinnati, the Boston Museum School, and in 1957 he received a bachelor of fine arts degree from Ohio University. After graduation, he moved to New York City and became involved with a circle of artists including Robert Rauschenberg, Claes Oldenburg, and Roy Lichtenstein, all of whose work moved away from Abstract Expressionism toward Pop art. In 1962 Dine's work was included, along with Roy Lichtenstein, Andy Warhol, Ed Ruscha, Wayne Thiebaud and many more, in the historically important and ground-breaking New Painting of Common Objects, curated by Walter Hoppsat the Norton Simon Museum. This exhibition is historically considered one of the first Pop Art exhibitions in America. These artists started a movement which shocked America and the art world. The Pop Art movement fundamentally altered the nature of modern art. Often associated with the Pop art movement, Jim Dine features everyday objects and imagery in his paintings, drawings, and prints. His works focuses on certain subject matter, bathrobes and hearts amongst them. However, unlike many Pop artists, he focuses on the autobiographical and emotive connotations of his motifs. Dine began painting bathrobes in 1964; some of them were titled or subtitled as self portrait. The bathrobe became a motif in his repertoire which he has returned to on many occasions, in prints as well as paintings. Dine is inspired by the power of simple images to be both familiar and symbolic. His repetitions of subjects like bathrobes or hearts are easily understood by the viewer, while at the same time suggesting deeper layers of meaning. His repeated use of this simple forms explores how meaning can be created in ways akin to the contemporary development of Conceptual art. By singling out one shape and returning to it repeatedly, Dine suggests to the viewer that it has significance to be discovered, that there is something that demands our attention and our consideration. An accomplished printmaker, Dine remains one the most famous American artists of today. His work is part of numerous public collections all over the world. He still lives and works in New York City.

Details

Creator
Jim Dine (1935, American)
Creation Year
1975
Dimensions
Height: 45 in. (114.3 cm)Width: 37 in. (93.98 cm)Depth: 6 in. (15.24 cm)
More Editions & Sizes
Artist proofPrice: $21,600
Medium
Lithograph,Woodcut
Movement & Style
Pop Art
Period
1970-1979
Condition
This work is in excellent condition.
Gallery Location
Miami, FL
Reference Number
1stDibs: LU53831607443
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Ships From: Miami, FL
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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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