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Jim Dine - Anthurium, from Temple of Flora, 1978, etching, drypoint, photo-gravure with watercolor

Jim Dine - Anthurium, from Temple of Flora, 1978, etching, drypoint, photo-gravure with watercolor

Superb Lilies (from A Temple of Flora) by Jim Dine Etching, drypoint, photogravure & hand coloring.

Superb Lilies (from A Temple of Flora) by Jim Dine Etching, drypoint, photogravure & hand coloring.

Jim Dine. I love this Jim Dine drawing. The flowers look like they are popping out of the paper and flowing across the top of it. This drawing seems to be fluid and flowing from the center. The flowers are detailed and yet blurred but yet evoke emotion.

Jim Dine. I love this Jim Dine drawing. The flowers look like they are popping out of the paper and flowing across the top of it. This drawing seems to be fluid and flowing from the center. The flowers are detailed and yet blurred but yet evoke emotion.

Jim Dine  New Mexican Aloe, 2010 (10-301)  Two-color lithograph and etching, with hand-coloring on White Rives

Jim Dine New Mexican Aloe, 2010 (10-301) Two-color lithograph and etching, with hand-coloring on White Rives

TREES IN ART • L'ARBRE DANS L'ART | Jim Dine (Am. born 1935), A tree painted in South...

TREES IN ART • L'ARBRE DANS L'ART | Jim Dine (Am. born 1935), A tree painted in South...

Jim Dine (American, b. 1935), The Issue of Spring, 2004. Charcoal, pastel, gesso and acrylic on paper, 47 ½ x 60 in.

Jim Dine (American, b. 1935), The Issue of Spring, 2004. Charcoal, pastel, gesso and acrylic on paper, 47 ½ x 60 in.

Jim Dine. Alan smoking at Syndey Close in the 90's from Alan Cristea Gallery Twentieth Anniversary Portfolio. 2015

Jim Dine. Alan smoking at Syndey Close in the 90's from Alan Cristea Gallery Twentieth Anniversary Portfolio. 2015

Jim Dine The Issue of Spring, 2004 Charcoal, pastel, gesso and scrylic on paper 47 1/2 x 60 inches

Jim Dine The Issue of Spring, 2004 Charcoal, pastel, gesso and scrylic on paper 47 1/2 x 60 inches

Dine's enthusiasm for materials and process is evident in the large, inky fingerprints (near the swaths of charcoal in the upper right corner) and in the abraded surface. He sanded the sheet with an emery board and picked at it with an etching-plate scraper and razor blade "to put more light into the drawing."

Glyptotek Drawings [3]

Dine's enthusiasm for materials and process is evident in the large, inky fingerprints (near the swaths of charcoal in the upper right corner) and in the abraded surface. He sanded the sheet with an emery board and picked at it with an etching-plate scraper and razor blade "to put more light into the drawing."