Richard Diebenkorn
Richard Diebenkorn
Full Name and Common Aliases
Richard Cyrus Diebenkorn Jr.
Birth and Death Dates
Born: October 21, 1922
Died: March 30, 1993
Nationality and Profession(s)
American Artist (Painter and Printmaker)
Early Life and Background
Richard Diebenkorn was born in Portland, Oregon, to a family of artists. His father, Richard Cyrus Diebenkorn Sr., was an architect, and his mother, Hazel Otis Diebenkorn, was a pianist. From an early age, Diebenkorn showed a keen interest in art, encouraged by his parents who recognized the importance of creative expression.
Diebenkorn's family moved to San Francisco when he was six years old, where he spent most of his childhood. He developed a passion for drawing and painting, often sketching the people and places around him. This early start laid the foundation for his future artistic endeavors.
Major Accomplishments
Throughout his career, Diebenkorn received numerous awards and accolades for his work. Some notable achievements include:
In 1955, he won a Guggenheim Fellowship, which allowed him to focus on his art full-time.
He was awarded the Skowhegan Medal in 1971 for his contributions to American art.
Diebenkorn's work was featured in several prominent exhibitions, including a retrospective at the San Francisco Museum of Modern Art (SFMOMA) in 1964.Notable Works or Actions
Diebenkorn is perhaps best known for his series of abstract paintings created during the 1950s and 60s. These works, characterized by their bold colors and geometric shapes, reflect the artist's interest in exploring the relationship between abstraction and representation.
Some notable pieces from this period include:
"Ocean Park No. 19" (1964), a quintessential example of Diebenkorn's abstract style.
* "Untitled (Two Figures)" (1952-55), showcasing his ability to balance abstraction with figurative elements.
Impact and Legacy
Richard Diebenkorn's artistic contributions have had a lasting impact on the art world. He played a significant role in shaping the Bay Area Figurative movement, an influential group of artists who sought to merge abstract expressionism with figural representation.
Diebenkorn's work has inspired countless other artists, including some notable contemporary painters like Mark Rothko and Willem de Kooning. His innovative approach to color, form, and composition continues to influence the development of modern art.
Why They Are Widely Quoted or Remembered
Richard Diebenkorn is widely quoted and remembered for his insightful and thoughtful comments on art and creativity. He believed in the importance of exploration and experimentation in the artistic process:
"Art is not a product of what we think, but of what we see."
Diebenkorn's commitment to innovation and his dedication to exploring the boundaries between representation and abstraction have made him an enduring figure in American art history. His legacy continues to inspire artists, designers, and anyone interested in creative expression.
As an artist who continually pushed the limits of his medium, Diebenkorn reminds us that true creativity lies not in imitation or repetition, but in embracing the unknown and pursuing our passions with unwavering commitment.
Quotes by Richard Diebenkorn
With rare exceptions, I respond most to painting that cuts across grain rather than following it. I think the artist here can get in touch with that grain rather than simply feel its flow. And he really can't cut right across it anyway.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
My father didn't think being an artist was a respectable or worthy goal for a man.
My insights come in periods of working. There are wonderful moments of surprise, but I'm superstitious enough not to want to talk about them.
As a work progresses, its power to elicit and dictate response mounts. There seems to be an optimum moment when this power is at its greatest which just precedes the point where ‘elicit’ is no longer apt usage. ‘Dictates’ is the word for this condition and tyranny is the adversary.
And I can just see that sometimes the technique is blasting powder rather than steady struggle.
I keep plastering it until it comes around to what I want, in terms of all I know and think about painting now, as well as in terms of the initial observation.
My father didn’t think being an artist was a respectable or worthy goal for a man. He hoped I would see my way to more serious work and would find myself turning towards medicine, law, or business.