Richard Diebenkorn Exhibitions
Richard Diebenkorn: Intaglio Prints, 1961–1978
- University Art Museum, University of California, Santa Barbara, 27 June 1979 - 2 September 1979
Curated by Phyllis Plous
The solo exhibition was the first of Richard Diebenkorn's intaglio works and presented 122 etchings, drypoints, and aquatints. A catalogue was published on occasion of the exhibition.
"Whether it is an arabesque that traces a woman's arm from the side of a sofa to her skirt-hem, or the austere scaffolding of a late Ocean Park painting, Richard Diebenkorn expresses his sensibility in line." —Artweek (July 14, 1979)
"Throughout the show, we are conscious of eloquent line—one of art's most basic elements—used with sensitivity and range. Line is the raspy agitation that makes a room's corner more than a meeting of planes. Line piles up to become dense blackness, turning white flecks of paper into slits of light. Diebenkorn's line is most assertive and addictive when it changes—from looking like yarn to resembling wire, from soft cushions to rigid boundaries." —Los Angeles Times (August 20, 1979)
Pictured: Richard Diebenkorn, #2, from the portfolio Nine Drypoints and Etchings, 1977 (object no. 3580.#2).
The solo exhibition was the first of Richard Diebenkorn's intaglio works and presented 122 etchings, drypoints, and aquatints. A catalogue was published on occasion of the exhibition.
"Whether it is an arabesque that traces a woman's arm from the side of a sofa to her skirt-hem, or the austere scaffolding of a late Ocean Park painting, Richard Diebenkorn expresses his sensibility in line." —Artweek (July 14, 1979)
"Throughout the show, we are conscious of eloquent line—one of art's most basic elements—used with sensitivity and range. Line is the raspy agitation that makes a room's corner more than a meeting of planes. Line piles up to become dense blackness, turning white flecks of paper into slits of light. Diebenkorn's line is most assertive and addictive when it changes—from looking like yarn to resembling wire, from soft cushions to rigid boundaries." —Los Angeles Times (August 20, 1979)
Pictured: Richard Diebenkorn, #2, from the portfolio Nine Drypoints and Etchings, 1977 (object no. 3580.#2).