JIM
DINE
Poster, 15th New York Film Festival, 1977
Lithograph poster, 1977, 44-1/8" x 29-3/4," mounted on stiff backer board
Signed, dated and inscribed in pencil: "For Irene Worth-- Best Wishes/ Jim Dine 1977"
The iconic robe, in its ongoing permutations, is Dine's serial self-portrait. Dine used runs from the plate for this poster as the foundations for four other robe prints. See Ellen G. D'Oench and Jean E. Feinberg, Jim Dine Prints 1977-1985 (New York, 1986), p. 63 and nos. 4-7.
"Original and intelligent, she [Irene Worth, 1916-2002] played havoc with an old critical rule that to think too hard is to be lost. Her Goneril, to Paul Scofield's King Lear, in the 1962 Peter Brook production at the Aldwych theatre, London, established her importance once and for all. She somehow turned her every move and murmur into an erotic signal, even towards the servants. At the same time, she tilted the tragedy's sympathy away from the tetchy old monarch-- because her Goneril became the daughter who had once loved him." Eric Shorter, The Guardian, March 12, 2002.
"She was a great artist, and an extraordinarily warm and humorous personality. In Melbourne, in the middle of rehearsal, she suddenly said, "Have you ever seen a kangaroo? I saw one yesterday. He was eating a piece of cake, and playing with himself at the same time." Irene, aged 80, leapt and hopped across the room. She was the kangaroo; she was improvising." Peter Eyre, id.
Poster, 15th New York Film Festival, 1977
Lithograph poster, 1977, 44-1/8" x 29-3/4," mounted on stiff backer board
Signed, dated and inscribed in pencil: "For Irene Worth-- Best Wishes/ Jim Dine 1977"
The iconic robe, in its ongoing permutations, is Dine's serial self-portrait. Dine used runs from the plate for this poster as the foundations for four other robe prints. See Ellen G. D'Oench and Jean E. Feinberg, Jim Dine Prints 1977-1985 (New York, 1986), p. 63 and nos. 4-7.
"Original and intelligent, she [Irene Worth, 1916-2002] played havoc with an old critical rule that to think too hard is to be lost. Her Goneril, to Paul Scofield's King Lear, in the 1962 Peter Brook production at the Aldwych theatre, London, established her importance once and for all. She somehow turned her every move and murmur into an erotic signal, even towards the servants. At the same time, she tilted the tragedy's sympathy away from the tetchy old monarch-- because her Goneril became the daughter who had once loved him." Eric Shorter, The Guardian, March 12, 2002.
"She was a great artist, and an extraordinarily warm and humorous personality. In Melbourne, in the middle of rehearsal, she suddenly said, "Have you ever seen a kangaroo? I saw one yesterday. He was eating a piece of cake, and playing with himself at the same time." Irene, aged 80, leapt and hopped across the room. She was the kangaroo; she was improvising." Peter Eyre, id.