Richard Diebenkorn Sketch Original India Ink Paper, Abstract Artwork, Fine Art Drawing, Modern Art Decor
Richard Diebenkorn Sketch Original India Ink Paper, Abstract Artwork, Fine Art Drawing, Modern Art Decor
This is an amazing find and a rare opportunity to own original work by this famous American Painter Richard Diebenkorn! This is an original one of a kind work on paper by Richard Diebenkorn! India ink on paper, not a lithograph but an original.
This work appears in the recently published Richard DIebenkorn: The Catalogue Raisonné as cat. 3378. And is recognized by Richard Diebenkorn Foundation.
And was original purchased in 1964 at CORE (congress of racial equality) Charity Auction
Professionally framed by Fitzgerald Art Studio of Westhampton, Frame is 23” x 20”
Richard Clifford Diebenkorn Jr. was born in April 1922 in Portland, Oregon. When he was two years old his father, who was a hotel supply sales executive, relocated the family to San Francisco. Diebenkorn attended Lowell High School from 1937–40, and entered Stanford University in 1940. There he concentrated in studio art and art history, studying under Victor Arnautoff and Daniel Mendelowitz. The latter encouraged his interest in such American artists as Arthur Dove, Charles Sheeler and Edward Hopper. Mendelowitz also took his promising student to visit the home of Sarah Stein, sister-in-law of Gertrude Stein, where he saw works by Paul Cézanne, Pablo Picasso and Henri Matisse; this early exposure to European modernism opened doors that continued to beckon in the future. In June 1943 Diebenkorn married fellow Stanford student Phyllis Gilman; they would have two children, Gretchen (born 1945) and Christopher (born 1947).
Diebenkorn served in the U.S. Marine Corps from 1943 until 1945. While stationed in Quantico, Virginia, he visited a number of important collections of modern art, including the Museum of Modern Art in New York, the Gallatin Collection at the Philadelphia Museum of Art, and the Phillips Collection in Washington, D.C. He internalized influences from Cézanne, Julio González, Paul Klee, Joan Miró, Mark Rothko and Kurt Schwitters; certain key paintings, such as Matisse’s 1916 Studio, Quai St. Michel at the Phillips Collection were especially compelling for him. During this time he produced representational sketches that would continue when he was stationed in Southern California and in Hawaii, and that constitute his “wartime” work.
Returning from military duty to San Francisco in 1946, Diebenkorn took advantage of the G.I. bill to study at the California School of Fine Arts. There he met many serious contemporaries who would remain friends and artistic colleagues, and an older one, David Park, who would have an especially important influence on him. In 1946 he received the Albert Bender Grant-in-Aid fellowship, allowing him to spend nearly a year in Woodstock, New York, in an environment where serious abstract artists were finding their experimental ways. In New York City, he had his first contact with William Baziotes and Bradley Walker Tomlin. Diebenkorn’s relatively small canvases of this period reflect these sources, many of whom were influenced by Picasso.
Diebenkorn and his wife, Phyllis, returned to San Francisco in 1947; they settled in Sausalito, and the artist became a faculty member at the California School of Fine Arts. Fellow teachers there included Elmer Bischoff, Edward Corbett, David Park, Hassel Smith, Clay Spohn and Clyfford Still. His first one-person exhibition was held at the California Palace of the Legion of Honor in 1948. In 1949, he was awarded his B.A. degree from Stanford. It was during this interval—1947 to late 1949—that the works of the “Sausalito period” took shape.
Albuquerque and Urbana
In 1950 Diebenkorn enrolled at the University of New Mexico, Albuquerque. He and his family remained in Albuquerque for two and a half years; halfway through his tenure there, he presented a cycle of paintings as his master’s degree exhibition. The “Albuquerque period” represents the first mature statement of Richard Diebenkorn’s distinctive, and powerful, presence on the American avant-garde art scene. During the Albuquerque years, Diebenkorn visited and was greatly impacted by a retrospective exhibition of Arshile Gorky at the San Francisco Museum of Art. This, and an epiphanic experience viewing the landscape from an aerial perspective, shaped his own work in the ensuing months. He combined landscape influence and a private, calligraphic language, into an artistic style that flowered in myriad directions, and whose ideas ramified in virtually all of his work in subsequent periods. At this time, he established his life-long pattern of working simultaneously in large-scale oil paintings works on paper.
Diebenkorn’s first in-depth exposure to the work of Henri Matisse happened in the summer of 1952, when he saw the retrospective exhibition organized by Alfred Barr for the Museum of Modern Art, New York, in its venue at the Municipal Art Galleries in Los Angeles. In the fall of that year, he moved with his family to Urbana, Illinois, having accepted a teaching position at the University of Illinois. The work made at that time, known as the “Urbana period,” is characterized by a continuation of his subtle abstract/calligraphic style, but with a richer, more intense palette.
Berkeley
In the summer of 1953, Diebenkorn visited New York, where, among many other artists, he first met Franz Kline. In September, he returned with his family to Berkeley, settling there for a number of years. The paintings and drawings of the “Berkeley period” established the artist as an abstract painter of uncommon authority and profundity
**unfortunately this item has had water damage. It has been professionally cleaned and restored by Andrea Pitsch Conservations who is well know for her museum quality conservation.
There remains slight discoloration at lower left of the Work. Buyer is encouraged to see the work in person, additional photos can be provided if necessary.