Richard Diebenkorn Exhibitions
Younger American Painters
- Solomon R. Guggenheim Museum, New York, 12 May 1954 - 26 September 1954
- Portland Art Museum, Ore., 2 September 1955 - 9 October 1955
- Henry Art Gallery, University of Washington, Seattle, 16 October 1955 - 13 November 1955
- San Francisco Museum of Art, 15 November 1955 - 22 January 1956
- Los Angeles County Museum, Exposition Park, Los Angeles, 1 February 1956 - 29 February 1956
- University of Arkansas, Fayetteville, 9 March 1956 - 10 April 1956
- Isaac Delgado Museum of Art, New Orleans, 15 April 1956 - 20 May 1956
Curated by James Johnson Sweeney
The group exhibition was Diebenkorn's first showing in New York. A catalogue was published on its occasion.
"Much of the most vigourous of the unsung talent came from the West Coast. In the Pacific Northwest he found a remarkably strong collector's market for new young art, and a correspondingly strong group of artists. In California, on the other hand, a large group of coming artists has grown out of nothing. With little general interest, little support, few galleries, young painters have collected there apparently in recognition of good university art schools, and of the creative friction on each other of their talents. The paintings in the show of the nine San Francisco Bay area painters...have, for the most part, a wide-open flair, smashing colour or smashing line, an uninhibited vigour. Largely abstract to the innocent eye, these paintings stirred Mr. Sweeney to announce that he was surprised at how representational they were. Identifying a huge umbrous squiggle as a still-life, he added, 'After all, they have to have been something.'" —Glamour magazine (June 1954)
The group exhibition was Diebenkorn's first showing in New York. A catalogue was published on its occasion.
"Much of the most vigourous of the unsung talent came from the West Coast. In the Pacific Northwest he found a remarkably strong collector's market for new young art, and a correspondingly strong group of artists. In California, on the other hand, a large group of coming artists has grown out of nothing. With little general interest, little support, few galleries, young painters have collected there apparently in recognition of good university art schools, and of the creative friction on each other of their talents. The paintings in the show of the nine San Francisco Bay area painters...have, for the most part, a wide-open flair, smashing colour or smashing line, an uninhibited vigour. Largely abstract to the innocent eye, these paintings stirred Mr. Sweeney to announce that he was surprised at how representational they were. Identifying a huge umbrous squiggle as a still-life, he added, 'After all, they have to have been something.'" —Glamour magazine (June 1954)