Comments on: Richard Diebenkorn: The Berkeley Years, 1953–1966 http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Sue http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-155778 Fri, 10 May 2013 04:29:21 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-155778 If only they could travel to Australia, this sounds like a great exhibition I wish I could make it!

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By: Luke Elwes http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-154460 Wed, 08 May 2013 10:57:43 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-154460 That’s interesting Sam.
There are some clear comparisons to be made with De Stael’s work, shown for the first time in 1953 at the Knoedler Galleries in New York and the Phillips Gallery in Washington. ‘View of Marseille’ 1954, now in the LA County Museum, certainly compares – in terms of subject, handling and composition – with Diebenkorn’s ‘Seawall’ 1957. But it’s hard to say if this link is direct or coincidental.
Did Diebenkorn talk anywhere about de Stael’s influence, or mention seeing his work at this time, or later? It may be that he saw de Steal’s work on his brief visit to Europe in 1964 but there is no mention in the standard texts and Gerald Nordland in particular only ever refers to his seminal encounter with Matisse in the Hermitage in 1964, subsequently regarded by him and others as marking the end of the ‘Berkeley’ period and the beginnings of the new ‘Ocean Park’ series.

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By: Robin Greenwood http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-149572 Tue, 30 Apr 2013 08:22:24 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-149572 I agree. Maybe the contradictions of harsh unmodulated colour against perspectival hints is too great in the Behnke? These Diebenkorn’s, and the more abstract one you flag up, seem much more able to reconcile surface with depth.

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By: Ashley West http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-149110 Mon, 29 Apr 2013 16:53:24 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-149110 An interesting question. Taking a look at Behnke’s work on his website they strike me to different degrees as ‘full of holes’ or flippings between forms and spaces. Despite (or because of)the saturation and ‘flatness’ of the colour they don’t readily pull to the surface to constitute objects in themselves (the colour/space is too deep?). I find a tension in looking at them, as if I have to work too hard to make that happen (seeing the surface texture in the flesh might help). Of course the diagonals and suggestion of forms accentuates this – ‘D’Artagnan’ (third image on website)is a good example of this. It may be that this is what he is after. Interesting to compare this with Diebenkorn’s Ocean Park No.29 (http://www.sol-space.co.uk/content/wp-content/uploads/2012/10/d.jpg), or most of the pieces above, where everything comes readily to the surface, while retaining reference to landscape. This is perhaps a testament to the rigour in his working process?

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By: Ashley West http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-149076 Mon, 29 Apr 2013 15:51:22 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-149076 I have heard that an exhibition of Diebenkorn’s work is planned at The Royal Academy for 2015, though I’m not sure whether it is this show coming over here or another aspect of his work. I’ll let you when I find out – nothing on the RA website yet.

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By: Sam http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-149055 Mon, 29 Apr 2013 15:07:06 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-149055 I’m pretty sure Paul Behenke would say he is influenced by de Stael – though perhaps as much through his drawing on John Hoyland as directly.

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By: Robin Greenwood http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-149024 Mon, 29 Apr 2013 14:19:11 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-149024 An interesting comparison, perhaps, with Paul Behenke?

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By: Sam http://abstractcritical.com/note/richard-diebenkorn-the-berkeley-years-1953-1966/#comment-148809 Mon, 29 Apr 2013 08:55:23 +0000 http://abstractcritical.com/?post_type=note&p=6888#comment-148809 I’ve not read anything about Diebenkorn’s career, so this maybe a well known fact about him already, but it seems de Stael was a big influence in mid-50s…

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