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Jim DineDorian Gray at Opium Den from "The Picture of Dorian Gray" surreal portrait1968
1968
About the Item
This surreal etching portrait of Dorian Gray by Jim Dine in blue ink features the literary protagonist dressed in a white suit. His face is obscured by a mass of hair, tangles of which seem to grow from the sleeves, pant legs, and from beneath the jacket. Dine's notes are written on the image: at his feet reading "WHITE BOOTS" and "White Vinyl Suit" alongside the jacket. On the left edge of the image handwritten text reads "DORIAN GRAY AT OPIUM DEN". In Oscar Wilde's novel Dorian Gray keeps opium in an ornate box in his home, and frequents sites of consumption on the East side of London: “There were opium dens where one could buy oblivion, dens of horror where the memory of old sins could be destroyed by the madness of sins that were new”. An opium den is where Sybil's brother James discovers Dorian. The brother attempts to capture the man he believes is responsible for the death of his sister. Dorian flees to his home, ultimately slashing the portrait that has kept him young for so long.
Etching by Jim Dine from one of his most important artist’s books – completely designed and illustrated by Dine. Study for the Rings on Dorian Gray’s Hand from “The Picture of Dorian Gray”. Signed proof aside from Edition B (edition 200) and Edition C (edition 100). Signed with initials lower right in pencil.
Dine was working on the sets and costumes for a stage version of Oscar Wilde’s famed novel, and when the play did not come to fruition, Petersburg Press proposed that he make a book using his annotated typescript of the play. Dine then drew 12 lithographs illustrating his costume and set designs which are included in the book and an additional 4 etchings, separate from the book, which are included loose in Editions A and C. Dine would go on to be a frequent Petersburg Press collaborator.
Condition: Aging of paper tone commensurate with age, some small discolorations, and some wear to the edge of the paper, as photographed.
Catalogue reference: Jim Dine: Complete Graphics with essay by John Russell, Galerie Mikro Berlin Kestner Gesellschaft Hannover Petersburg Press London 1970, 47g
The book is in the collection of the Victoria and Albert Museum, London; Cleveland Museum of Art, Cleveland; Albright-Knox Museum, Buffalo; National Gallery of Art, Washington D.C.; MoMA, New York; Harry Ransom Center, University of Texas, Austin
- Creator:Jim Dine (1935, American)
- Creation Year:1968
- Dimensions:Height: 17.5 in (44.45 cm)Width: 12 in (30.48 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Aging of paper tone commensurate with age, some small discolorations, and some wear to the edge of the paper, as photographed. This work is not previously owned and comes from the archives of the publisher.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1211212698912
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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