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Large Charcoal Drawing by Jim Dine, 1974

About

A large charcoal and wash "Untitled" drawing from 1974, signed and dated. Measuring 11" x 78" and frame approx. 19.75 x 87". Provenance: Sonnabend Gallery. From his tools series, this drawing masterfully depicts a long saw. A quick bio" Although often associated with both Pop Art and Abstract Expressionism, Jim Dine did not identify with a specific movement, producing a vast oeuvre of paintings, drawings, works on paper, sculpture, poetry, and performances. Emerging as a Pioneer (together with Allan Kaprow, Claes Oldenburg, and Robert Whitman) of New York’s Happenings of the 1960s, Dine would carry the spontaneous energy of this movement throughout his style, which emphasized the exploration of everyday life. Personally significant objects were Dine’s primary motifs, as in his iconic series of hearts and robes. He championed a return to figuration after a period of more concept-dominated works, and is considered an important figure in Neo-Dada and a forerunner of Neo-Expressionism. “The figure is still the only thing I have faith in in terms of how much emotion it’s charged with and how much subject matter is there,” he once said. American, b. 1935, Cincinnati, Ohio, based in New York, Paris and Walla Walla, Washington".

Details

  • Date of manufacture
    1974
  • Period
  • Condition
    Good. very good original condition, original silver leaf frame/plexiglass .
  • Dimensions

    H 87 in. x W 19.75 in. x D 1 in.

    H 220.98 cm x W 50.17 cm x D 2.54 cm

  • Seller location
    St.Petersburg, FL
  • Reference number
    LU80299717023

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About Jim Dine (Artist)

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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