Jim Dine, originally linked with Pop art, has developed into one of the most remarkable draftsmen and preeminent artists of our time.
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Editorial Reviews
From Publishers Weekly
Although best known for his pop-linked paintings of hearts, tools and robes, Dine based his exuberant drawings of Greek and Roman sculpture on his visits to the Glyptothek, Munich's museum of antiquities, as well as on statuary from the British Museum and the Prado. These mostly extroverted, bravura drawings are a form of time travel, an imaginative attempt to fathom the classical world while maintaining a modernist consciousness. The result is a curious hybrid, sometimes strained or unconvincing but often quite powerful, as in the fiercely expressionistic Wounded Trojan, who seems to represent the agony of all dying soldiers. In one hauntingly reflective study, the bust of Homer hovers above the nebulous face of Socrates like a Rorschach blot, a dark premonition of Western civilization. This handsome catalogue of a traveling exhibit includes appreciations by Fine, curator of modern prints at the National Gallery of Art, and Fleischman, director of the Madison Art Center in Wisconsin.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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18 of 19 people found the following review helpful:
5.0 out of 5 stars
Inspirational drawings,
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This review is from: Jim Dine: Drawing from the Glyptothek (Paperback)
As an art student, I am fascinated by the way artists put media to paper, in the most basic way, and draw. In this book, 'Jim Dine: Drawings from the Glyptotech' we are shown the true art of drawing. By taking a pretty straightforward model, e.g. a statue, Dine renders something quite unique. How can one artist lay open the heart and soul of something so static as a statue? But, surprisingly, he does this with economy of line and media. The drawings show strength and depth and you are left with a knowledge of real people and their lives, in a two-dimensional sense. The text is concise and you immediately understand the points Dine is making in relation to his drawings. The reproductions of his drawings are exceptional. This book should be in every art students' (and artists, for that matter) bookcase as an essential reference point from where to start drawing. I have learnt so much from Jim Dine in this book that I just want to spend years exploring the art of putting down good lines on paper.
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