Jim Dine was inspired by a 1984 trip to The Glyptothek in Munich, to create a series of figurative drawings based on Greek and Roman antiquities; they would ultimately function as positive transparencies in the production of the heliogravure prints (helio — "light"; gravure — "engraving") for his limited edition book Glyptotek, 1988.

carve . In Glyptotek Drawings [21] and [31], there is a second type of diamond pattern, which Dine confirmed is a shoe print (figure 9) and assumed he must have stepped on these drawings.ii. Ferric chloride: An acidic solution made by dissolving iron (III) chloride (FeCl3) in water. Etch: The chemical removal of metal from a printing plate using an acidic solution, such as ferric chloride. Jim Dine: Youth and the Maiden. This discussion, thus, guided Dine's material choices as described above. Sold price: 660,000 USD, Russian Poetess, from Eight Sheets from an..., 1976, Hand painted City Center, New York "Gilbert..., 1968, Aberdeen Art Gallery 1974 (Rimbaud, Alchemy..., 1974, Galerie Gerald Cramer 1973 (Silhouette Boots , 1973.
A tonal pattern was not Dine's intention when he left these crumbs on the drawings but instead, as Dine mused, "[I] just left my tracks. Zein, Kurt, Werkstatt für handgedruckte Originalgraphik. Traditionally, this process uses light in combination with a continuous tone photographic film positive transparency to create an acid-resistant gelatin ground on a copper printing plate. Dine lived in London from 1967 to 1970, then moved to Putney, Vermont, where he currently resides. "The drawings are about light, as is the technique used to transfer them to the plates.".

To create this ground, the transparency is placed over a photosensitive layer of gelatin and exposed to an ultraviolet-containing light source. Figure 14: Glyptotek Drawing [2] on the left with the corresponding heliogravure print on the right. Print. In Glyptotek Drawing [34], a diamond pattern resembling a wire mesh can be seen in both positive and negative (figure 8). . London: Waddington Graphics, 1988. Tools are a recurring motif in his work and serve as both icons of consumer culture and symbols of his labor in his grandfather’s store.

The use of a knife, razor blade, or scraper afforded Dine more precise linear scraping, which could be wider or thinner depending on the angle of the tool (figures 12). New York: Focal Press, 2003. p. 148-149. Dine devised innovative subtractive techniques to remove media, using erasers, sandpaper, knives, razor blades, and an intaglio plate scraper to create voids.

Wood or vine charcoal tends to have a brown undertone, while compressed charcoal is a denser black. Before starting the Glyptotek Drawings, Dine contacted master printer Kurt Zein in Vienna to determine what process would be used to transform his drawings into prints. In the case of the heliogravure prints in Dine's Glyptotek, the Glyptotek Drawings were used as the positive transparencies. Drawings of Jim Dine. In the past Dine has described a drawing as "something you . i. Dine began each drawing with charcoal or lithographic crayon, which he manipulated with his fingers (figure 2) and a kneaded eraser to create subtle gradations.

Figure 9: Detail of shoe print in Glyptotek Drawing [21]. Jim Dine’s drawing process is one of continual revision, which he refers to as “correcting.” Working in mixed media, including charcoal, pastel, graphite, and watercolor, he builds up his drawings, erases them, and continuously works the surfaces, almost to the point of losing the image or the paper all together. Commercial spray paints are sold in aerosol containers. In Glyptotek Drawing [36], Dine created an opaque black background using successive layers of media, which further emphasizes the dismembered head in the drawing (figure 4). Oberhuber, Konrad, and Jim Dine. Working in this manner resulted in distinct frottage patterns in many of the final drawings. Figure 2: Detail of Dine's fingerprints in the manipulated charcoal of Glyptotek Drawing [11]. When printed, drypoint lines have a distinct soft appearance. Intaglio: A category of printmaking processes in which the image is created by recessed lines or textured areas below the surface of a metal plate. Welcome back! In several drawings Dine created passages of charcoal that have the appearance of a liquid. Morrish, David, and Marlene MacCallum. Jim Dine: Drawing from the Glyptothek. This resulted in a lively, multi-layered opaque black background. The Glyptotek Drawings are an instance in which the ultimate goal of creating a book of prints guided the artist's materials and techniques. I can spend a lot of time with objects, and they leave me as satisfied as a good meal. Dine studied The Virginia Museum of Fine Arts purchased six works by Dine, and in 1983 he was a juror in “The Next Juried Show” at the VMFA, judging prints and drawings. To create this ground, the transparency is placed over a photosensitive layer of gelatin and exposed to an ultraviolet-containing light source. Dine, Jim. The plate is then placed in a series of ferric chloride solutions used to etch the surface of the copper to transfer the image from the transparency to the printing plate. Jim Dine's 1960 performance of Car Crash at the Reuben Gallery in New York was approximately 15 minutes long and took place in an entirely white space in which was placed a series of found objects that Dine also painted white. Figure 12: Linear scraping appears wider or thinner depending on the angle of the tool; the detail of Glyptotek Drawing [6] on the left shows wider scraping, while the detail of Glyptotek Drawing [36] on the right shows thinner scraping. Modern Masters from the Smithsonian American Art Museum features forty-three key paintings and sculptures by thirty-one of the most celebrated artists who came to maturity in the 1950s. Light, passing through these negative spaces, thus became Dine's drawing medium. Dine, Jim, Ruth Fine, and Stephen Fleischman. Photographic Printmaking Techniques. The juried shows at the VMFA were a series of biennial exhibitions covering all areas including Communication Arts, Craft Media, Painting & Sculpture, Photography, Video Arts, and Prints and Drawings, each on an every-other-year schedule. Since then the plants and animals around his Vermont home have become the main subjects of his work. Evidence of this working method is visible in the lower left corner of Glyptotek Drawing [9], where the texture from the directly applied charcoal can be seen in contrast to the manipulated tonal area (figure 3). Still, the prints are primarily considered heliogravures. Next, Dine used spray paint to block out the majority of the background. I saw this bathrobe in an ad. In the 1970s, Dine returned to representational painting and drawing. These subsequent layers may have appeared in the form of more charcoal or crayon, or Dine may have chosen to use one or more different materials, including pastel, graphite, marker, spray paint, india ink or enamel paint. Marker: A drawing instrument with a fiber tip to which a constant supply of ink is supplied from an attached reservoir. "Surface Cleaning: Eraser Materials," Chap. . As a result, the heliogravure prints are exact replicas of the drawings, except that they are mirror images of one another (figure 14). In the early 1960 s Dine began to create collage paintings in which real objects—ranging from household appliances, tools, and bathroom fixtures to items of clothing such a suit or shoes—were affixed to the canvas or placed in relationship to it. Boston: Museum of Fine Arts. As the artist states, ​“Pop is concerned with exteriors. .
Knowing that he wanted to create a printed book and that the drawings would be transferred to the printing plate at actual-size, the drawings all needed to be of consistent dimensions. The Artist's Handbook of Materials and Techniques, 4th ed. Ultimately, this working method resulted in heavily worked surfaces that effectively blocked the passage of light. (v) Quoted in Judith Brodie "A Manner of Speaking" in Judith Brodie and Jim Dine. © 2009 Jim Dine / Artists Rights Society (ARS), New York. Conversation with Jim Dine at The Morgan Library & Museum on December 22, 2010. München: Staatliche Antikensammlungen und Glyptothek, 1990. I’m concerned with interiors when I use objects, I see them as a vocabulary of feelings. The elimination of the photographic film positive transparency is often referred to as direct gravure. Jim Dine, tools. New York: Hudson Hills Press, in association with Madison Art Center, Wisconsin, 1993. It is important to note that a small number of the prints are not exact replicas, as Dine sometimes worked in drypoint directly on the printing plates to make minor adjustments. New York: Focal Press, 2003. Subtracting media is not unique to this series, but rather is a constant for Dine in the creation of drawings. Salzburg: Internationale Sommerakademie für Bildende Kunst, 1997. 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. As a young man, Jim Dine spent many hours working in his family’s hardware business. Graphite: A naturally occurring silvery-black drawing material that is an allotropic form of carbon. Figure 11: Fine scratches from Dine's use of sandpaper can be seen in this detail of Glyptotek Drawing [33]. As Dine related, ​“I was looking for a way to do self-portraits without painting my face.

Jim Dine studied at the University of Cincinnati and the Boston Museum School, earning a BFA at Ohio University in 1957. Jasper Johns, Allan Kaprow, Claes Oldenburg, Robert Rauschenberg, Cy Twombly, Hearts, 1969 - 1969 Figure 13: Thin slivers of plastic removed to create highlights in Glyptotek Drawing [14] can be seen still partially attached to the support in this detail. In other cases, the drawings have been roughly cut down to the desired dimensions with the occasional crop line still visible along the edge.

: Nelson-Atkins Museum of Art, 1990. (i) Conversation with Jim Dine at The Morgan Library & Museum on December 22, 2010. In the 1950s and 1960s, pop art offered a stark contrast to abstract expressionism, then the dominant movement in American art. The proportions and shading makes the tools look realistic. Tyne, Lindsey “Jim Dine: Drawing with Light” Master Drawings 50.2 (2012): 211-230. Copper Plate Photogravure: Demystifying the Process. This suggests that the drawing was worked from start to finish on the same surface in one drawing session. Dine, Jim, and Deni M. I. McHenry. Ross, John, Clare Romano, and Tim Ross. Keep in touch by subscribing to news and updates from SAAM and Renwick Gallery. 108-109.

The programs of The Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Over the years Dine has also created a large number of prints. This post was created in conjunction with the exhibition Jim Dine: The Glyptotek Drawings on view May 20 through September 4, 2011, organized by Elliott Zooey Martin, Department of Modern and Contemporary Drawings. 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. There is a strong autobiographical element in much of Dine’s art. In the Glyptotek Drawings, Dine's main criterion for supports was translucency, which limited their thickness. Jim Dine in Der Glyptothek.

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