Exhibition in Focus Guide

Exhibition in Focus This guide is given out free to teachers and full-time students with an exhibition ticket and ID at the Learning Desk and is available to other visitors from the RA Shop at a cost of £5.50 (while stocks last). ‘Now, the idea is to get everything right – it’s not just colour or form An Introduction to the Exhibition or space or line – it’s everything all at once.’ Richard Diebenkorn, ‘Richard Diebenkorn: The Idea is to Get Everything Right’, for Teachers and Students John Gruen, Art News, November 1986 Introduction Written by Ben Street Richard Diebenkorn (1922–1993) was one of the most influential and For the Learning Department groundbreaking American artists of the post-Second World War era. Unlike © Royal Academy of Arts many of his peers who dedicated themselves entirely to abstraction, Diebenkorn moved between abstract and figurative painting, exploring one style for several years before shifting to the next with equal success. His paintings fused European and American approaches to modern art, and were sensitive responses to the light and location of the different studios in which he worked and their Richard Diebenkorn geographical environment. Each time he and his family moved across the USA, The Sackler Wing of Galleries his work transformed accordingly, most famously in his late paintings from 14 March – 7 June 2015 southern California, known as the Ocean Park series. This exhibition at the Royal Academy showcases three principal periods within Diebenkorn’s mature career, each corresponding to a specific location: firstly, abstraction in New Mexico, Illinois and northern California, followed by a figurative period in northern California and, finally, his return to abstraction in southern California. In sharp distinction to, and against the grain of, the aims of many of his contemporaries during the mid-to-late 1950s, Diebenkorn was committed to the traditions of Western art and explored the classical genres of figure painting, landscape and still life. However, he was no conservative, and thanks to his early years as an abstract artist he breathed new life into these conventions. Throughout his career, he remained fascinated by the interactions of line, colour and gesture across the surface of the paper or canvas. He embraced periods of abstraction and figuration in his work, and was as critically successful in each of them. His unwillingness to be pinned down to any particular approach makes Diebenkorn a difficult artist to characterise. He had an aversion to being FRONT COVER pigeonholed, preferring instead to move between approaches as he saw fit, Diebenkorn at his Hillcrest studio, Berkeley, California, 1959 (detail). Photograph © Fred Lyon all of which contributed to his singularity as an artist. Designed by Isambard Thomas, London Printed by Tradewinds Ltd Designed by Isambard London Printed by Tradewinds Thomas, BACK COVER Although Diebenkorn was highly regarded in this country and was made The window in the Ocean Park studio, 1968 (detail). Photograph by Richard M. Grant. © 2015 The Richard Diebenkorn Foundation an honorary Royal Academician in 1992, this exhibition is only the second of its kind to be held in the United Kingdom since then, and is the first museum survey of his work since 1997. This long overdue exhibition seeks to reaffirm Diebenkorn’s position as one of the most engaging, innovative and consistently exciting American artists of the twentieth century. The RA is a unique organisation that remains true to its origins in 1768 as a place where art is made, exhibited and debated. Our aim is simple: to be a clear, strong voice for art and artists. The RA’s Learning Department fulfils this objective by engaging people in the practice of art through hands-on creative experiences and exploring the art of the past and the present. 1 Early life and career as well as that of Pablo Picasso (1881–1973), Piet Mondrian (1872–1944), Paul Cézanne (1839–1906) and Pierre Bonnard (1867–1947). Bonnard’s The Open Richard Clifford Diebenkorn was born on 22 April 1922 in Portland, Oregon, Window (fig. 1) was of particular importance to Diebenkorn. Its juxtapositions – although his childhood was spent in the San Francisco Bay Area of California, of interior and exterior, the natural and the man-made, the straight edge and the a part of the world to which he would return in later life. While his parents had curve – were to inform many of the great leaps he made in his mature painting. little or no interest in art, Diebenkorn’s maternal grandmother, Florence McCarthy Due to his military service, Diebenkorn’s education in art was an itinerant Stephens, an amateur landscape painter, encouraged his youthful interest in one. He completed his undergraduate studies after returning from military service, drawing. Florence introduced the young Diebenkorn to visual influences such as having by that time taken classes at Stanford, Berkeley and the California School heraldic symbols and playing cards that were to recur throughout his mature work. of Fine Arts. While serving in the military, he had brought his art materials with him He had a particular interest in the Bayeux Tapestry and medieval iconography, and and continued to develop his style during various posts, inspired by the works some of his earliest drawings depict horsemen, archers and soldiers in armour. of art to which he was exposed and the variety of landscape settings in which Diebenkorn’s interest in art blossomed at school and, in 1940, led to his he lived. After the war, which ended in 1945, his work was galvanised by the enrolment at Stanford University in Palo Alto, where he studied liberal arts, influence of a new generation of artists then emerging in New York: the Abstract taking life drawing and watercolour classes. He also studied art history, Expressionists, including Mark Rothko (1903–1970), Jackson Pollock (1912– discovering through his teachers the work of American painters such as Arthur 1956), Clyfford Still (1904–1980), Willem de Kooning (1904–1997) and Barnett Dove (1880–1946), Edward Hopper (1882–1967) and Charles Sheeler (1883– Newman (1905–1970). After the war, Diebenkorn’s work took a decisive turn into 1965). Hopper’s haunting paintings of urban and rural America were to influence abstraction when, in 1947, as a student at the California School of Fine Arts, he Diebenkorn’s deep engagement with the American landscape. As important was was awarded an Albert Bender Grant-in-Aid. With the proceeds of the award, he the work of Sheeler and Dove, whose explorations of European abstraction, chose to move to New York City, then to Woodstock, New York, where he spent and the links between abstraction and figure painting, were to anticipate seven months working in the studio and became acquainted with the work of Diebenkorn’s own radical approaches in the 1950s. Equally significant for the young Diebenkorn was exposure to the great Fig. 1 innovations of the European modernists. Through his teacher Daniel Mendelowitz Pierre Bonnard (1905–1980), Diebenkorn visited the home of wealthy art collector Sarah Stein The Open Window, 1921 (1870–1953) in Palo Alto. Stein, who had lived in Paris from 1903 to 1935 with Oil on canvas 118.1 × 95.9 cm her husband Michael Stein (brother of the poet Gertrude and collector Leo), had Acquired 1930 accrued a collection of works of extraordinary quality by artists not then seen in The Phillips Collection, Washington, DC © ADAGP, Paris and DACS, London many American museums, with especial emphasis on the work of Henri Matisse 2015 (1869–1954), including Woman with a Hat, 1905, and The Bay of Nice, 1918. Diebenkorn’s firsthand exposure to Matisse’s work affected him deeply and became a touchstone to which he would return throughout the rest of his life. In his third year at Stanford, Diebenkorn was called up by the US Marine Corps as an active reservist, and soon after married his girlfriend Phyllis Gilman, a fellow student. As part of his training, he was transferred to the University of California, Berkeley, where for one semester he continued to study life drawing, painting and art history. The following year, he was stationed in Quantico, Virginia, eventually serving as a mapmaker in the Photographic Section. Diebenkorn took full advantage of his new location in the eastern United States and made regular visits to the Phillips Collection in Washington DC. He was also able to visit other art institutions, including the Philadelphia Museum of Art, the Museum of Modern Art in New York, and the National Gallery of Art in Washington DC. At each of these venues, he deepened his understanding of and relationship to the great European modern artists, and furthered his fascination for the work of Matisse, 2 Cat. 1 The Disintegrating Pig, 1950 Oil on canvas, 92.7 × 120 cm Iris and B. Gerald Cantor Center for Visual Arts at Stanford University. Gift of Gretchen and Richard Grant. © 2015 The Richard Diebenkorn Foundation 4 5 many of the leading lights of what was termed ‘the New York School’. A surge in the presence of what he called ‘animal imagery’, inspired by the surroundings economic and cultural confidence following the Second World War had led to the of Albuquerque. The Disintegrating Pig is one such painting with recognisable emergence of a distinctly American kind of modern art, which brought together imagery, which was made after the family had visited the New Mexico State Fair, the automatic mark-making of the Surrealists and the broken perspectives of where they saw prize pigs for the first time. Diebenkorn later talked about the Cubism, with the grand scale and individualistic emphasis of a vast country ‘humanoid aspects’ of these animals, and compared them to ‘big, hairy, fat men buoyed with the self-confidence of recent victory.

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