Jim Dine

8 Hearts / Look, Off-set Lithograph with metallic paper collage overlay, 1970

1970

Claes Oldenberg (b.1929) is a Swedish-born American artist, renowned for his contribution to Pop art by way of his iconic soft sculptures and public installations. In 1962, Oldenburg debuted his revolutionary soft sculptures at the Green Gallery in New York. Three giant, squishy sculptures of an ice cream cone, a hamburger, and a slice of cake, swelled across the gallery floor, forever changing the way we define sculpture. It has been noted that Oldenburg's early work was largely inspired by Yayoi Kusama's hand-sewn phallic-shaped soft sculptures that enveloped the surfaces of ironing boards, sofas, and boats. Click here to see an exhibition poster featuring a later example of Kusama's soft sculptures. Ranging from voluminous hamburgers (famously on display at the AGO) to ballistic badminton shuttlecocks, Oldenberg's colossal sculptures replicate commonplace objects on a grand scale, often disrupting the environment they inhibit with curious and playful subtexts. The confrontational nature of Oldenberg's sculptures places an emphasis on the viewer, asking us to reconsider our relationship to these recognizable, but obscure, objects. "Geometric Mouse...

Andy Warhol (1928-1987) is arguably the most important American artist of the 20th century. He not only helped to define Pop Art, but has made a profound and enduring effect on artis...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with an emphasis on text, is consistently provocative and occasionally frightening, manipulating the language of both pop culture and government slogan to produce commentary on global issues notably power structures and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York and other cities. Composed of anonymous statements, printed on friendly or calm colored papers, the statements were influenced by writings of major political figures such as Emma Goldman...

Beverly Pepper (1922-2020) was an internationally renowned artist, known for her large-scale outdoor sculptures. Although Pepper was raised and educated in New York, by her late tw...

Jasper Johns Jasper Johns at Leo Castelli (Hand signed and inscribed), 1976 Offset lithograph poster (hand signed and warmly inscribed by Jasper Johns) Signed and inscribed "for Cord...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Jim Dine, Monotypes et Gravures, Galerie Maeght, Paris, 1983. Vintage Offset Lithograph Poster American contemporary pop art. A colorful heart quilt in a rainbow of colors. Jim Dine...

Rare collectors item: Roy Lichtenstein, Frank Stella, John Chamberlain New Work, Leo Castelli poster, 1967 Offset lithograph poster invitation with original folds, addressee and post...