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细节

RICHARD DIEBENKORN (1922-1993)
Untitled
signed with the artist's initials and dated 'RD 63' (upper left)
ink and graphite on paper
12 x 17 ¼ in. (30.5 x 43.8 cm.)
Executed in 1963.

来源

Poindexter Gallery, New York, 1966
Dana Reich Gallery, San Francisco, circa 1975
John Berggruen Gallery, San Francisco, 1981
Acquired from the above by the present owner, 1981

出版

Drawings by Richard Diebenkorn, exh. cat., Stanford University Art Gallery, 1965, n.p., pl. 23 (illustrated).
J. Livingston and A. Liguori, eds., Richard Diebenkorn: The Catalogue Raisonné, Volume Three: Catalogue Entries 1535-3761, New Haven and London, 2016, pp. 558-559, no. 3342 (illustrated).

展览

Stanford University Art Gallery, Drawings by Richard Diebenkorn, April 1964.
Beverly Hills, Paul Kantor Gallery, Recent Drawings by Richard Diebenkorn, October 1965.
New York, Poindexter Gallery, Richard Diebenkorn: Drawings, May-June 1966.
Athens, University of Georgia, Georgia Museum of Art, Drawings by Richard Diebenkorn, February-March 1967.
Philadelphia, Pennsylvania Academy of the Fine Arts, Drawings by Richard Diebenkorn, December 1967-January 1968, n.p., no. 8 (exhibition brochure).
Kansas City Art Institute, Drawings by Richard Diebenkorn, April 1968.
New York, Poindexter Gallery, Recent Drawings, December 1968-January 1969.
Santa Cruz, University of California, Mary Porter Sesnon Gallery, Richard Diebenkorn: Drawings, 1944-1973, February-March 1974, p. 23, no. 42 (titled Landscape).
Richmond, California, Richmond Art Center, Closely Considered: Diebenkorn in Berkeley, September-November 2014.

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拍品专文

"Among the strongest paintings of Diebenkorn’s career is a series done in 1962 and 1963 in medium or small scale, depicting geometrically sectioned-out cityscapes. Whether or not the cityscapes include a piece of horizon and sky near the top, they show Diebenkorn grappling with the issue of how to organize, in a legible perspectival frame, the infinitely complex variety of shapes and textures presented in virtually any view of the outdoors, while also taking into account the quality of light and shadow actually observed in nature” (J. Livingston, The Art of Richard Diebenkorn, New York, 1997, p. 51).

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