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Jim Dine
Woodcut Self Portrait (unique state proof)

1974

$4,000
$5,00020% Off

About

This is one of Jim Dine’s earliest known woodcuts which the artist carved and printed in black ink on brown handmade paper on his kitchen table in London in 1974. This is a unique printing; there is one other known impression printed on a brown handmade paper. Carved into a swatch of black, the artist’s face is defined by thin lines and soft white areas, his beard and hair a flurry of scribbles. This loose definition tightens around his lively eyes, which peer out from either side of a completely effaced nose. The composition’s shape and size evoke a mirror: Dine seems to look back at himself rather than out into the world. Self-portraiture is a vital, longtime aspect of Dine’s practice, whether the artist illustrates his likeness, or presents motifs that stand in for the self, such as the bathrobe, and his iconic brushes and hand tools. In a 1970 interview, Dine told the New York Times: “My subject matter is me. I'm really on an autobiographical voyage.” Paper 24.75 x 37 in / 63 x 94.5 cm Woodcut in black ink on brown handmade paper with natural fibers. Signed by the artist, dated 1974, and labeled Trial Proof lower center in pencil.

Details

  • Creator
    Jim Dine (1935, American)
  • Creation Year
    1974
  • Dimensions
    Height: 25 in. (63.5 cm)Width: 37 in. (93.98 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    Faint crease.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121125594752

Shipping & Returns

  • Shipping
    $499 Standard Front Door Shipping
    to United States 0, arrives in 3-6 weeks.
    We recommend this shipping type based on item size, type and fragility.
    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
5 / 5
Located in New York, NY
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