Richard Diebenkorn, the Berkeley Years 1953-1966

I have always enjoyed the “Ocean Park” series of abstract paintings by Richard Diebenkorn (1922-1993). These paintings were done when Diebenkorn moved to Los Angeles and comprise his signature style. These large canvasses evoke the light and landscape of southern California.

                                        Ocean Park No. 54, 1972 oil on canvas.

While in San Francisco last month I had an opportunity to visit an exhibition of Diebenkorn’s early work, specifically the pieces created from 1953-1966 when he lived in Berkeley. The exhibition is at the de Young Museum in Golden Gate Park and is very comprehensive and enlightening. 

                                        Berkeley No. 13, 1954, oil on canvas.

                         

The earliest works in the exhibition are indeed abstract, graffiti like ink drawings, influenced by the abstract expressionists, specifically de Kooning. As time passes Diebenkorn’s work, much praised by the art community for its energetic, abstract qualities, becomes more figurative.

                                            Untitled (Berkeley), 1954, ink on paper.

 In 1955 he created “Chabot Valley” his first representational landscape. His shift to figurative work shocked the art world.  In 1957 Diebenkorn wrote, “Temperamentally perhaps I had always been a landscape painter.” He further commented, “Abstract literally means to draw from or separate.  In this sense every artist is abstract… a realistic or non-objective approach makes no difference.  The result is what counts.”

                                   Chabot Valley, 1955, oil on canvas.

Throughout these years Diebenkorn returns to drawing from the figure. His 1958 piece “Woman in Profile” uses energetic layers of impasto  to describe a woman. Diebenkorn paints the organic shapes of the figure and juxtaposes them to the landscape outside; the grid pattern of the windows unites the two worlds.

                                 Woman in Profile, 1958, oil on canvas.

Diebenkorn’s figure studies or “exercises in seeing” as he describes them reveal his thought process and works to come. While visiting Leningrad in 1965 his works take on a Matisse like quality using pattern and flat color. These works anticipate the “Ocean Park” series.

                           Recollections of a Visit to Leningrad, 1965, oil on canvas.

Diebenkorn is a unique American artist.  This exhibition of his early work enlightens and informs our undertsanding of his signature work. I highly recommend a visit to the de Young Museum for this impressive exhibition.The exhibition catalog, with essays by Emma Acker, Steven A. Nash and Timothy Anglin Burgard, is excellent.

Gustave Moreau Home and Studio in Paris

 In March I had the occasion to visit the home and studio of French Symbolist painter Gustave Moreau (1826-1898), now the Gustave Moreau National Museum and open to the public. Located in the 9^th arrondissement of Paris, on a residential street, is this wondrous artists’ home. 

                                         Interior of Gustave Moreau's home

Gustave Moreau lived and worked in this beautiful setting from 1852, until his death in 1898. The living quarters are small and lavishly decorated with artwork, fine furniture and ceramics. 

                                             View of the second floor studio

To visit the studio, located on the second and third floors, is to be transported to Moreau’s world.  The space is large and well lit by large windows and ample wall space for the numerous large-scale works. Moreau’s thousands of framed drawings are handsomely preserved throughout the studio in flat files and in cases behind drapes (to keep them from direct light exposure.)

                 Spiral staircase that leads to the third floor studio and exhibition space.

Gustave Moreau was a most prolific artist creating an estimated 10,000 paintings drawings, sculptures and watercolors. His focus was large-scale biblical and mythological scenes.  His studio is a treasure trove of drawings, preparatory sketches and sculptures made in planning his paintings.  These preparatory objects offer insight into Moreau’s process. 

                 Horse sculptures by Moreau, created as studies for his paintings.

While studying at the Ecole des Beaux-Arts Moreau was influenced by master painters such as Michelangelo and Rembrandt as well as ancient and medieval art.  He would go on to have an effect on the work of Matisse and the Fauves, as well as the surrealists and even the abstract expressionists.

                   "Jupiter and Semele", 1895, oil painting by Gustave Moreau.

While still in his thirties Moreau wrote, “I think of my death and the fate of all these works and compositions I have taken such trouble to collect.  Separately they will perish, but taken as a whole they give an idea of what kind of an artist I was and in what kind of surroundings I chose to live my dreams.”

                                  Third floor studio and exhibition space.

Moreau’s home opened to the public in 1903.  I highly recommend a trip to this fascinating collection.  I also recommend two books that contain chapters about the museum and collection.  “Artists in Residence” by Dana Micucci, this amazing book has inspired me to visit many artists’ homes,  in including those of Delacroix, Bonheur, Daubigny, Van Gogh and Monet. The book “Artists Houses” by Gerard-Georges Lemaire is also fascinating.

 All photographs by Marie Dauenheimer.