Lot #240

Jim Dine
Jim’s Hand Painted One

lithograph with hand colouring
signed, numbered 12/12 and dated 2008 in the lower margin; titled, numbered and dated on a gallery label on the backing on the reverse
66.5 x 38 ins ( 168.9 x 96.5 cms )

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Pace prints and Cristea Roberts Gallery
Michael Woolworth at Atelier Michael Woolworth, Paris
Galerie De Bellefeuille, Montreal
Private Collection, Toronto
Clifford S. Ackley and Patrick Murphy, Jim Dine Printmaker Leaving my Tracks, The Museum of Fine Arts, Boston, 2012, page 9 and 134
Jim Dine is an avid printmaker. He sees the medium as artistically equal to the rest of his body of work, which encompasses painting, drawing, sculpture and photography. Dine found that the process of reversing the image in order to create a print came very naturally to him. As he explained, “I can think backwards - maybe because of my left-handedness, maybe because of my dyslexia - so I’m never surprised by what I get. It’s almost like I expect it”. Dine’s love of the medium is evidenced in the purposeful way he shows the process of printmaking. From sheets marked by his fingerprints to images drawn with bold and energetic gestures, Dine is not interested in meticulous and constructed images. He applies the colour spontaneously by hand so that each print in the edition was unique.

Dine’s first introduction to lithography came when he was nineteen and working a summer job at the Cincinnati Art Museum under the direction of the prints and drawings curator, Gustave von Groschwitz. Tasked with matting all of the prints for the biennial of colour lithography, Dine was able to handle and examine a large selection of lithographs by artists such as Miro, Picasso and Matisse. This experience began his love affair with the medium.

Dine’s printmaking is interwoven with the rest of his artistic practice to reflect autobiographical themes. The artist embraces the deeply personal as we see in Jim’s Hand Painted One, which reflects the artist’s childhood obsession with Disney’s Pinocchio. After watching the film at the age of 6, Dine acquired a Pinocchio doll years later that served as a model for the numerous prints, paintings, sculptures and photographs created on the subject since the 1990s. Each work can be viewed as articulating a different aspect of the artist’s personality. Dine identifies with both the naughty Pinocchio and the elder craftsman, Geppetto. While Geppetto embodies the artist’s wisdom and knowledge, Pinocchio appeals to his youthful exuberance. Dine’s habit of reworking his printed plates extends to his reimagining of his subjects as well. As he explains, “I found a doll of Pinocchio, franchised by Disney at the time of the film. A beautiful doll, with real clothes - I mean cloth clothes - and papier-mâché and hand-painted head, arms, and legs…It’s in pieces in my house. Because it’s just so beat. I’ve done all kinds of things with it. I’ve cast it, I’ve taken it with me. It’s just completely beat. But it was a beautiful thing”.

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Jim Dine