|Richard Diebenkorn, Berkeley #57, 1955|
I had looked forward to this exhibition: I was not disappointed. In fact, my expectations were exceeded: this is a terrific show.
I have, until now, had little opportunity to see Diebenkorn's work: despite his high standing in the US and his place in the histories of modern art (see, eg, Robert Hughes' Shock of the New (1980) pp159-60) he is, I believe, represented in the UK only by a single print in the Tate. Perhaps, for this reason his unfamiliar work seems so fresh.
As this modestly scaled exhibition makes clear, Diebenkorn began as an abstract painter, turned to figuration, and then turned again to abstraction and to what is generally regarded as the apotheosis of his career: the Ocean Park series. Somewhat to my surprise I particularly liked the middle period figurative work. However, all the work is marked by a finely tuned judgement, a precise balance of colour and form. Beautiful.
Click on images to enlarge.
|Richard Diebenkorn, Albuquerque #4, 1951|
|Richard Diebenkorn, Seated Man, 1956|
|Richard Diebenkorn, Woman by the Ocean, 1956|
|Richard Diebenkorn, Girl on a Terrace, 1956|
|Richard Diebenkorn, Seawall, 1957|
|Richard Diebenkorn, Scissors, 1959|
|Richard Diebenkorn, Cityscape #1, 1963|
|Richard Diebenkorn, Ocean Park #43, 1971|
|Richard Diebenkorn, Ocean Park #79, 1975|
|Richard Diebenkorn, Ocean Park #116, 1979|