Richard Diebenkorn Writings
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Artist's writing
Current owner:
Richard Diebenkorn Foundation Archives
Credit Line:
© Richard Diebenkorn Foundation RD number:
RDFA.160 Description
Transcription:
[Image 1]
The making of a painting involves getting in touch symbolically with those things that one is concerned with. I make this statement with assurance but to go further and say how—or what those things are is beyond me. But I do have interests that I sense are closely allied with those things or if they aren’t actually they at least act as catalysts bringing about the symbolic contact that I want. [strikethrough] Several years ago the catalyst was the color, light and arrangement of a certain kind of landscape [/strikethrough]
[Image 2]
Dear Mr. Selz,
[strikethrough] I can’t seem to make a statement that isn’t either a very gross over-simplification or is
[double strikethrough] All of [/double strikethrough] my efforts of the past weeks to make a statement have [double strikethrough] turned out to be untrue [/double strikethrough] been very disappointing to me. One of the difficulties, aside from the great one of making a true [double strikethrough] one describing [/double strikethrough] discription [sic] of one’s intentions, is that the ground is so hopelessly chewed up, tramped over (I’m speaking now of “why I use [double strikethrough] humans as sub [/double strikethrough] man’s image in my painting”) and there has been so much righteous rationalizing on the subject [/strikethrough]
[Image 1]
The making of a painting involves getting in touch symbolically with those things that one is concerned with. I make this statement with assurance but to go further and say how—or what those things are is beyond me. But I do have interests that I sense are closely allied with those things or if they aren’t actually they at least act as catalysts bringing about the symbolic contact that I want. [strikethrough] Several years ago the catalyst was the color, light and arrangement of a certain kind of landscape [/strikethrough]
[Image 2]
Dear Mr. Selz,
[strikethrough] I can’t seem to make a statement that isn’t either a very gross over-simplification or is
[double strikethrough] All of [/double strikethrough] my efforts of the past weeks to make a statement have [double strikethrough] turned out to be untrue [/double strikethrough] been very disappointing to me. One of the difficulties, aside from the great one of making a true [double strikethrough] one describing [/double strikethrough] discription [sic] of one’s intentions, is that the ground is so hopelessly chewed up, tramped over (I’m speaking now of “why I use [double strikethrough] humans as sub [/double strikethrough] man’s image in my painting”) and there has been so much righteous rationalizing on the subject [/strikethrough]