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.

Blogging from Paris

Tomorrow I fly to Paris with my daughter Lily.  We plan on sketching and visiting museums we have heard about, but never had the opportunity to see.  I hope to blog about these collections from my iPad.

As a preview here are a few of the museums we hope to visit. At the top of the list is the Musee Jacquemart Andre, recommended by friends Laura Primrose and Avery Fullerton.  This late 19^th century mansion houses what looks to be an exceptional collection of paintings, sculptures and decorative arts.  The museum is currently the venue for a Eugene Boudin landscape painting exhibition.

                                     Inside the Musee Jacquemart Andre

Also on the list is Musee Carnavalet, set in two Renaissance style mansions in the Marais section of Paris, this museum highlights the history of Paris.

                                       Central garden at Musee Carnavalet

The Musee des Arts Decoratifs is know for their elegant exhibitions of fashion history. The collection offers furniture and fashion designs from the Middle Ages through the present day.  While there Lily and I hope to see the current exhibition “Fashioning Fashion: Two Centuries of European Fashion 1700–1915”.

                                      Inside Musee des Arts Decoratifs.

Finally we hope to visit Musee Gustave Moreau, the former home and studio of 19^th century symbolist Guatve Moreau with thousands of his works on view.

                                         Inside Musee Gustave Moreau.

If time permits we hope we return to the Musee D’Orsay, and visit the Petite Palais and Musee Eugene Delacroix.

Watercolor Wash Drawing with Robert Liberace

As many of you know I frequently blog about master drawings and the process of how they were created.  I am currently taking a master drawing techniques class at the Art League in Alexandria, Virginia.  The instructor, the renowned Robert Liberace, is an accomplished painter, draughtsman and sculptor.

                   Model Lily Dunlap with Robert Liberace as he sets up the pose.

In todays class Liberace created two very different portraits using watercolor washes.  The portraits were of my husband and daughter who modeled in 18^th costume.

              Robert Liberace working on painting of Lily in 18th century costume.

For Liberace the process starts with setting up the pose and lighting.  As he choreographs the pose he thinks about the light, form, pattern and composition.  For the watercolor painting he did of Lily he used a monochromatic watercolor wash on Twinrocker handmade paper.  Watercolor wash, unlike ink wash, can be moved around and manipulated, ink wash tends to stain the paper.

                         Watercolor wash painting of Lily by Robert Liberace.

As Liberace builds up the form he is conscious of not over working the dress, he wants to keep the image fresh and fluid.  He lets the white of the paper show through as the highlights and lighter values. he uses dark accents to describe areas of shadow.  The fluidity of his brushwork is remeniscent of Tiepolo. The figure’s dress and pose recall Rococo artists such as Watteau and Fragonard.

                                      Sam Dunlap posing as a buccaneer.

For the watercolor portrait of Sam, as a buccaneer, Liberace started with a light graphite sketch and progressed to blocking in the flat areas of color with light washes.  As he worked he carefully observed the model and the nuances of light, shadow and color temperature.  The resulting portrait is a sensitive study, done with a confident and energetic brushwork, that captures the character of the sitter.

                      Watercolor wash portrait of Sam by Robert Liberace.

Visiting Cezanne’s Studio in Aix en Provence, France

“This house in which there was no furniture or ornaments, was filled up by the presence of the artist, there existed a visible harmony between the two.”  Georges Riviere, art critic

             Cezanne's studio in Aix en Provence.  Photo by Marie Dauenheimer.

Last year I had the unique experience of visiting Paul Cezanne’s (1839-1906) studio in Aix en Provence, France.  It was the last studio Cezanne would have and he would spend four productive years painting there.  The studio was build under Cezanne’s direction and completed in 1902.  The plot of land was selected to offer a view of Cezanne’s muse and often-painted motif, Mont Sainte Victoire.  It is estimated that Cezanne painted his beloved mountain over 100 times.

                                Painting by Cezanne of Mont Sainte Victoire.

I visited with my daughter on a drizzly afternoon in April. Lilacs and other flowering trees were blooming outside the studio. The building is a solid structure, with a yellow stucco exterior and muted salmon colored shutters.  While none of Cezanne’s paintings are on view at the studio you get a sense of the artist through what is left behind, his still life props, easel and other accouterments.  This presence and sense of the artist is the reason I love visiting artist’s studios and homes. 

                                            Cezanne's studio, interior view.

Cezanne is said to have kept regular business hours for painting.  He arrived at the studio in the morning and worked until evening surrounded by the blue gray walls and the cherished objects, bowls, sculptures and skulls, that fill his canvasses.  Large windows offered both southern and northern exposures.

                                       Cezanne's studio, interior view.

After Cezanne’s death in 1906 the studio was not used for 15 years. Cezanne’s son sold the studio in 1921 and finally the studio opened to the public in 1952.

                     A still life painting by Cezanne featuring objects in his studio.

If you are in Provence I highly recommend a visit to the studio as a homage to Cezanne and his masterful works. For more information on visiting the studio go to www.atelier-cezanne.com