Richard Diebenkorn Exhibitions
Richard Diebenkorn: Etchings and Drypoints, 1949–1980
- Minneapolis Institute of Arts, 25 April 1981 - 21 June 1981
- Nelson-Atkins Museum of Art, Kansas City, Mo., 2 August 1981 - 30 August 1981
- Saint Louis Art Museum, Mo., 15 September 1981 - 25 October 1981
- Baltimore Museum of Art, Md., 10 November 1981 - 3 January 1982
- Carnegie Museum of Art, Pittsburgh, Pa., 16 January 1982 - 14 March 1982
- Brooklyn Museum, N.Y., 18 April 1982 - 6 June 1982
- Flint Institute of Arts, Enos A. and Sarah DeWaters Art Center, Flint, Mich., 25 June 1982 - 6 August 1982
- Springfield Art Museum, Mo., 21 August 1982 - 6 October 1982
- University of Iowa Museum of Art, Iowa City, 5 November 1982 - 12 December 1982
- Sarah Campbell Blaffer Gallery, University of Texas, Houston, 14 January 1983 - 20 February 1983
- Newport Harbor Art Museum, Newport Beach, Calif., 5 March 1983 - 2 May 1983
- San Francisco Museum of Art, 13 May 1983 - 17 July 1983
Organized by Crown Point Press, Oakland, and circulated by Margarete Roeder Fine Arts, New York
The intaglio print retrospective presented over 130 etchings and drypoints by the artist, most of which were published by Crown Point Press, plus sixty unpublished proofs from 1963–65 which were on view for the first time. A catalogue was produced by Houston Fine Art Press on occasion of the exhibition, and the artist attended a book signing for the publication in 1981.
"...these prints are a joy to look at...." —The Phoenix (1982)
"His work is remarkably complex, for such pretty stuff, and its intimacy has the strength of reality, not the comfort of illusion." —The Tribune Calendar (May 29, 1983)
"The remarkable achievement of Diebenkorn is his ability to assimilate his materials and his mentors, to bridge brightly the indefinable region between the substance and material of his media and the images of his subject matter. These passages are accomplished by arrangements of space and color, it is true, but the genesis of line is more important for the achieved effect of each painting and print." —Artweek (July 2, 1983)
The intaglio print retrospective presented over 130 etchings and drypoints by the artist, most of which were published by Crown Point Press, plus sixty unpublished proofs from 1963–65 which were on view for the first time. A catalogue was produced by Houston Fine Art Press on occasion of the exhibition, and the artist attended a book signing for the publication in 1981.
"...these prints are a joy to look at...." —The Phoenix (1982)
"His work is remarkably complex, for such pretty stuff, and its intimacy has the strength of reality, not the comfort of illusion." —The Tribune Calendar (May 29, 1983)
"The remarkable achievement of Diebenkorn is his ability to assimilate his materials and his mentors, to bridge brightly the indefinable region between the substance and material of his media and the images of his subject matter. These passages are accomplished by arrangements of space and color, it is true, but the genesis of line is more important for the achieved effect of each painting and print." —Artweek (July 2, 1983)