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Self-Portrait
196422 1/8 x 16 15/16 in. (56.2 x 43 cm)
Jim Dine
American
Object Type:
Print
Medium and Support:
Etching
Credit Line:
The Charles Rand Penney Collection of the Memorial Art Gallery
Accession Number:
1975.329.2
Location: Not currently on view
Collection:
The Charles Rand Penney Collection
Edition: 105/200
Portfolio: New York Ten, 1965
From the portfolio "New York Ten"
This work claims to be a self-portrait, although we don't actually see what we typically expect in a portrait - a face. One of the trademarks of Pop Art is the absence of the artist's hand - many of them wanted their work to look machine-made or mass-produced. Pop Art, as well as many other art movements throughout the ages, often prompted the question "What is art?" This work also invites the question "What is a portrait?"
[Gallery label text]
The self-portrait has been redefined by a number of artists in contemporary times. In Dine’s case, the substitution of a bathrobe for the artist’s face is a witty twist on an old theme, simultaneously conveying anonymity and “cozy familiarity,” in the words of one writer. Like Warhol’s Campbell’s soup can, Dine’s bathrobe has become a signature image of Pop art of the Sixties.
In addition to his unconventional approach to self-portraiture, Dine’s printing technique “breaks the rules” as well. Rather than being centered on the paper, the image is asymmetrically placed, which creates a cropped effect.
[Label text, 1997]
This work claims to be a self-portrait, although we don't actually see what we typically expect in a portrait - a face. One of the trademarks of Pop Art is the absence of the artist's hand - many of them wanted their work to look machine-made or mass-produced. Pop Art, as well as many other art movements throughout the ages, often prompted the question "What is art?" This work also invites the question "What is a portrait?"
[Gallery label text]
The self-portrait has been redefined by a number of artists in contemporary times. In Dine’s case, the substitution of a bathrobe for the artist’s face is a witty twist on an old theme, simultaneously conveying anonymity and “cozy familiarity,” in the words of one writer. Like Warhol’s Campbell’s soup can, Dine’s bathrobe has become a signature image of Pop art of the Sixties.
In addition to his unconventional approach to self-portraiture, Dine’s printing technique “breaks the rules” as well. Rather than being centered on the paper, the image is asymmetrically placed, which creates a cropped effect.
[Label text, 1997]
Bibliography
For general information about this print, see Galerie Mikro's "Jim Dine: Complete Graphics," Kestner-Gesellschaft, Hannover, 1970: cat. no. 26
Marks
Artist's signature, lower left: 105/200 Jim Dine 1964
Provenance
Purchased by Charles Rand Penney, Olcott, NY; given to the Gallery in 1975
Keywords
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Additional Images
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Exhibition List
This object was included in the following exhibitions:
- Charles Rand Penney Collection Memorial Art Gallery 2/27/1976 - 3/28/1976
- 30 Portraits: prints from the permanent collection Memorial Art Gallery 11/19/1977 - 2/12/1978
- Survey of American Printmaking Memorial Art Gallery 5/2/1987 - 10/18/1987
- Artists' Artists: Man to Man Memorial Art Gallery 5/30/1997 - 8/17/1997
- Dimensions in Pop Memorial Art Gallery 1/17/2003 - 3/23/2003
- Reflections: Artist and Identity 7/12/2006 - 8/21/2006
Bibliography
This object has the following bibliographic references:
- Article Title: Acquisition: The Charles Rand Penney Foundation Collection. Article Scope: article. Memorial Art Gallery. Gallery Notes. Rochester, New York: Memorial Art Gallery, 1935-1995. Volume Number: 41, Issue Number: 6. Issue Date: February 1976.
- Article Scope: Mention. Elizabeth Brayer. Magnum Opus: The Story of the Memorial Art Gallery, 1913-1988. Rochester, NY: Memorial Art Gallery, 1988.
- Article Scope: Entry. Sandra Haller Olsen. A Survey of American Printmaking from the Collection of the Memorial Art Gallery of the University of Rochester. Rochester, NY: Memorial Art Gallery, 1987.
- The Charles Rand Penney Collection of the Memorial Art Gallery of the University of Rochester. Rochester, NY: Memorial Art Gallery, 1976.
Portfolio List
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This object is a member of the following portfolios: