The Why's and Wherefore's of Richard Diebenkorn

Seated Figure with Hat by Richard Diebenkorn, 1967
Oil on canvas, 146.7 x 156.8 cm

The relationship between abstraction and figurative painting is a theme much on my mind at the moment.

I'm wrestling with a way to combine the two in my own work and this Modern Art Notes podcast "Richard Diebenkorn, the Berkeley Years, 1953-66" seemed to promise a new level of insight. ​

In fact, the podcast - an interview by Tyler Green with Timothy Anglin Burgard the co-curator of the San Francisco exhibition (which is accompanied by blog post with extensive images from the exhibition) - delivers much more.

Burgard gives us not only a glimpse into the mind of the artist as he plays with making the transition from one genre to another (and not in the direction you might imagine!), but appreciation into the compositional structure of, inspiration for, and influences behind, the work of a great American artist of the 20th century.
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Albuquerque #7 by Richard Diebenkorn, 1951
1951 Medium: Oil on canvas, 177.8 x 97.8 cm

"The pretty, initial position which falls short of completeness is not to be valued - except as a stimulus for further moves." 
Richard Diebenkorn

Seated Woman by Richard Diebenkorn, 1967
Oil on canvas 228.6 x 203.5 cm

​Delving deeply into the why's and wherefore's of a body of art like this is a luxury and one which in this world of instant Pins and Likes, I admit I rarely take the time to enjoy.

So sit down with a cup of tea, a pair of headphones and this page of accompanying photos open on your browser and allow yourself the time for some mental expansion. 

You might also like this overview of Richard Diebenkorn and his work.