Richard Diebenkorn Exhibitions
Richard Diebenkorn
- Paul Kantor Gallery, Los Angeles, 10 November 1952 - 6 December 1952
The exhibition's full checkist is unknown.
"10 NOVEMBER – 6 DECEMBER: Richard Diebenkorn, first one-man show outside the Bay Area, opens at the Paul Kantor Gallery in Los Angeles. Arthur Millier, in the Los Angeles Times, calls him “one of the most gifted artists in the American nonobjective field." —Chronology from Richard Diebenkorn: The Catalogue Raisonné, Vol. 1 (Yale University Press, 2016)
"Though to most people as yet Diebenkorn's painting may appear a kind of doodled and accidental confusion, a close analysis of his method reveals that he is not so far removed from rather old-fashioned notions about paintings. For example, his obvious feeling of a need for variety and activity functioning through the canvas. He does not vignette his idea as so many abstractionists do, or leave large areas untouched for whatever negative effect they have. He works over every square inch in building up the whole; the organization being established not through advance sketches, but in the process of painting itself." —Paul Kantor in the exhibition handout (November 1952)
"Austere, devoid of seductive qualities, without cues other than what pigment or line imply, Diebenkorn requires that the spectator propel himself into his activated surfaces. In No. 3, atmosphere is segmented by a wiry line that curls in on itself and thrusts across the canvas like a nerve imbedded in muscle tissue. In another oil, titled B, in blacks and whites, Diebenkorn conveys an impressive monumentality, not unlike the grandeur of stark desert mesas on a cold grey morning." —Jules Langsner for Art News (November 1952)
"...big areas of glowing, sensitively nuanced color sharpened by long flowing lines." —Los Angeles Times (16 November 1952)
"10 NOVEMBER – 6 DECEMBER: Richard Diebenkorn, first one-man show outside the Bay Area, opens at the Paul Kantor Gallery in Los Angeles. Arthur Millier, in the Los Angeles Times, calls him “one of the most gifted artists in the American nonobjective field." —Chronology from Richard Diebenkorn: The Catalogue Raisonné, Vol. 1 (Yale University Press, 2016)
"Though to most people as yet Diebenkorn's painting may appear a kind of doodled and accidental confusion, a close analysis of his method reveals that he is not so far removed from rather old-fashioned notions about paintings. For example, his obvious feeling of a need for variety and activity functioning through the canvas. He does not vignette his idea as so many abstractionists do, or leave large areas untouched for whatever negative effect they have. He works over every square inch in building up the whole; the organization being established not through advance sketches, but in the process of painting itself." —Paul Kantor in the exhibition handout (November 1952)
"Austere, devoid of seductive qualities, without cues other than what pigment or line imply, Diebenkorn requires that the spectator propel himself into his activated surfaces. In No. 3, atmosphere is segmented by a wiry line that curls in on itself and thrusts across the canvas like a nerve imbedded in muscle tissue. In another oil, titled B, in blacks and whites, Diebenkorn conveys an impressive monumentality, not unlike the grandeur of stark desert mesas on a cold grey morning." —Jules Langsner for Art News (November 1952)
"...big areas of glowing, sensitively nuanced color sharpened by long flowing lines." —Los Angeles Times (16 November 1952)