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Jim DineYELLOW CALLA LILLIES1978
1978
About the Item
Dine, Jim (American, born 1935). YELLOW CALLA LILLIES. D'Oench and Feinberg 19. Etching, soft-ground, drypoint, photogravure and electric tools, with hand-coloring, 1978. Edition of 30, plus 10 Artist's Proofs, this numbered 4/30 and signed and dated 1978, all in pencil. 23 3/4 x 17 3/4 inches, 603 x 451 mm. (image); 39 x 27 5/8 inches, 991 x 700 mm (sheet). From The Temple of Flora, which is a suite of nine prints of flowers. Very attractively framed to 45 1/2 x 34 inches.
From D'Oench and Feinberg:
"The Temple of Flora portfolio began in 1977 as nine mylar drawings that were transferred to plates through photogravure. Each plate was worked with hard and soft ground etching, drypoint needle, mezzotint rocker used as a drypoint tool, and the die-grineder used as a sander for light plate tome. After editioning all the prints weredelicately highlighted with watercolor. This series highlights Dine's superb draughtsmanship, a skill that he perfected during the seventies by constant exercise, including frequent sessions of drawing from a model. A Temple of Flora was issued as a portfolio with a cover sheet for numbers I-X, while numbers 1-30 were released as individual prints..."
- Creator:Jim Dine (1935, American)
- Creation Year:1978
- Dimensions:Height: 46 in (116.84 cm)Width: 34 in (86.36 cm)Depth: 1 in (2.54 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Portland, ME
- Reference Number:1stDibs: LU367314361542
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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Established in 1966
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International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Portland, ME
- Return PolicyA return for this item may be initiated within 10 days of delivery.
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