Woman Taking Off A Man's Shirt In Five Stages
Woman Taking Off A Man's Shirt In Five Stages
Signed Print
Julian Opie
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Medium: Screenprint
Edition size: 80
Year: 2004
Size: H 48cm x W 89cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Phillips London - United Kingdom | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| August 2020 | Wilson55 - United Kingdom | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| July 2018 | Bonhams Knightsbridge - United Kingdom | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| March 2018 | Sotheby's Online - United Kingdom | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| December 2014 | Christie's London - United Kingdom | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| October 2011 | Artcurial - France | Woman Taking Off A Man's Shirt In Five Stages - Signed Print | |||
| December 2008 | Artcurial - France | Woman Taking Off A Man's Shirt In Five Stages - Signed Print |
Meaning & Analysis
Julian Opie’s Woman Taking Off A Man’s Shirt In Five Stages is a screen print from 2004 that shows an image of a half-dressed figure in a sequence of static poses, taking off an oversized shirt. Opie renders the model in his graphic, linear style, reduced to a clear-cut outline of torso and limbs, circle for a head and two curved lines for breasts.
Using computer-drawing programmes to complete his works, Woman Taking Off A Man’s Shirt In Five Stages is indicative of Opie’s desire to find a standardised version of the human figure. The artist’s depictions of nude figures relate to imagery used on the signs of lavatory doors for example, and Opie combines this kind of imagery with a digital photograph of a real person to create the resulting image.
Charged with an explicitly sexualised tone this print is dynamic in its sequential composition. By placing the figures next to one another in differing poses from left to right, the viewer's eye follows the print as the figure removes her dress. The composition provides the static print with a sense of movement and motion that injects realism into the graphic print. For Opie, movement itself is a form of realism in relation to the human form.