Indigo Horizontal
Richard DiebenkornIndigo Horizontal1985
1985
About the Item
- Creator:Richard Diebenkorn (1922-1993, American)
- Creation Year:1985
- Dimensions:Height: 35.63 in (90.51 cm)Width: 48.75 in (123.83 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU118526715662
Richard Diebenkorn
Known for his gestural yet geometric depictions of American landscapes, Richard Diebenkorn blended Abstract Expressionism and figurative painting like no other artist before him.
Born in Portland, Oregon, but raised in San Francisco, California, Diebenkorn studied art history at Stanford University before enlisting in the Marines. Afterward, on the G.I. Bill, he enrolled at California School of Fine Arts (now San Francisco Art Institute) in 1946, where he became an instructor a year later. In 1950, he pursued a master’s degree at the University of New Mexico.
He lived and worked for a period during the postwar years in New York City, where he met Mark Rothko and immersed himself in Robert Motherwell’s art. However, the perspective that Diebenkorn brought to his paintings and prints was firmly rooted in the West Coast. His canvases, even when he worked in an abstract style, evoked California’s sandy coastlines and varied topography — one of the attributes that set him apart from contemporaries such as Willem de Kooning and Philip Guston.
Diebenkorn is acclaimed for his representational paintings; he was a founding member of the Bay Area Figurative movement, along with David Park and Elmer Bischoff. But he is best known for his lyrical abstract work. He explored abstraction during the 1950s before switching to figuration — creating still lifes and working with live models — and then returned to abstraction, developing a distinctive style that was entirely his own.
When Diebenkorn moved to Southern California, he began to teach at UCLA and commenced work on what would become his enduring “Ocean Park” series, named for the Santa Monica suburb he called home as of 1966 and inspired by the view from his studio — in particular, the light on the landscape outside the windows as framed by the windows themselves. The influence of Henri Matisse loomed large too. Diebenkorn had been an admirer of Matisse’s work since his days in the military, and in 1964, a trip to see the French painter’s work at the State Hermitage Museum in Leningrad proved monumental for him.
The “Ocean Park” series, created over the span of two decades, comprised more than 140 large paintings with gentle, shimmering compositions of color arranged in geometric harmony, with the texture of Diebenkorn’s constant reworking of the paint coming through.
“All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression,” Diebenkorn once said. Today, his work can be found in the collections of the Whitney Museum of American Art, the Phillips Collection, the Los Angeles County Museum of Art and more.
Find authentic Richard Diebenkorn art on 1stDibs.
- Soho DreamsBy Helen FrankenthalerLocated in New York, NY1987 Color etching, aquatint, drypoint Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower marginCategory
1980s Abstract Expressionist Abstract Prints
MaterialsDrypoint, Etching, Aquatint
Price Upon Request - UntitledBy Sam FrancisLocated in New York, NYUntitled, 1991 Etching in colors, on wove paper Sheet: 47 x 28 in. (119.4 x 71.1 cm) Edition of 20 Signed and numbered in pencil Framed, mint conditionCategory
1990s Abstract Expressionist Abstract Prints
MaterialsEtching
Price Upon Request - RadishBy Pat SteirLocated in New York, NY1993 Etching with aquatint in colors, on Somerset paper Sheet: 54 x 29 3/4 inches Edition of 25, AP Signed, dated and numbered in pencilCategory
1990s Abstract Abstract Prints
MaterialsEtching, Aquatint
Price Upon Request - Untitled (Triptych)By Dan FlavinLocated in New York, NYThree aquatints printed from two to three plates each on Twinrocker handmade rag paper Sheet: 19 3/4 x 15 3/4 in. (50 x 40 cm), each Edition of 60 Each print numbered and estate sign...Category
1990s Abstract Abstract Prints
MaterialsAquatint
Price Upon Request - Wavy Lines with Black BorderBy Sol LeWittLocated in New York, NYAquatint on rag paper Sheet: 21 x 24 3/4 in. (53 x 63 cm) Edition of 60 + 10AP Signed and numbered in pencil on lower margin Published by Edition Schellmann, Munich and New YorkCategory
1990s Abstract Abstract Prints
MaterialsAquatint
Price Upon Request - Wavy Lines with Black BorderBy Sol LeWittLocated in New York, NY1997 Aquatint on Awa Kozo paper Sheet: 21 x 24 3/4 in. Edition of 60 Signed and numbered in pencil Unframed, mint conditionCategory
1990s Abstract Geometric Abstract Prints
MaterialsAquatint
Price Upon Request
- Large Italian Aquatint Etching Francesco Clemente Neo Expressionist Avant GardeBy Francesco ClementeLocated in Surfside, FLFrancesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...Category
1980s Abstract Expressionist Abstract Prints
MaterialsDrypoint, Etching, Aquatint, Intaglio
- Triptych of Three Monumental Etchings by Mimmo PaladinoBy Mimmo PaladinoLocated in Long Island City, NYA set of three monumental etchings by Italian contemporary artist, Mimmo Paladino. Each nicely framed in black. Artist: Mimmo Paladino Title: Si...Category
1990s Abstract Expressionist Abstract Prints
MaterialsGold Leaf
- Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), mixed media FramedBy Stanley BoxerLocated in New York, NYStanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...Category
1970s Abstract Expressionist Abstract Prints
MaterialsEngraving, Drypoint, Etching, Aquatint, Mixed Media, Pencil, Graphite
- Buoy Landscape IV, Mixed media signed/n limited edition Ab Ex relief printBy Sam GilliamLocated in New York, NYSam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...Category
1980s Abstract Expressionist Abstract Prints
MaterialsMixed Media, Pencil, Graphite, Drypoint, Etching, Aquatint, Screen
- Soho DreamsBy Helen FrankenthalerLocated in New York, NY1987 Etching, aquatint and drypoint in colors, on wove paper Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower marginCategory
1980s Abstract Expressionist Abstract Prints
MaterialsPaper, Drypoint, Etching, Aquatint
Price Upon Request - Target with Plaster Casts (Black & White)By Jasper JohnsLocated in Miami, FLTECHNICAL INFORMATION Jasper Johns Target with Plaster Casts (Black & White) 1980-1989 Drypoint etching and aquatint 31 1/8 x 24 1/8 in. AP IV/XVI Pencil...Category
1980s Abstract Expressionist Abstract Prints
MaterialsDrypoint, Etching, Aquatint
Price Upon Request
