Collection Highlights: Richard Diebenkorn
- Bio: American, b. Portland, Oregon, 1922 – 1993
- School: Bay Area Figuration
M. Knoedler & Co., New York, to 6 April 1979
Museum Purchase, 1979
M. KNOEDLER & CO., New York. Richard Diebenkorn, 12-31 May 1979, cover.
MUSEO DEL PALACIO DE BELLAS ARTES, Mexico City. La Pintura de los Estados Unidos de Museos de la Ciudad de Washington (organized by the International Communication Agency, Washington, DC), 18 November 1980-4 January 1981, no. 90.
ROYAL SCOTTISH MUSEUM, Edinburgh. Treasures from the Smithsonian Institution (organized by SITES, Washington, DC), 11 August-5 November 1984, p. 68.
NEUBERGER MUSEUM, State University at Purchase, NY. The Window in Twentieth-Century Art, 20 September 1986-18 January 1987, p. 73. TOUR: CONTEMPORARY ART MUSEUM, Houston, 18 April-29 June 1987.
BUCK, ROBERT T. et al. Richard Diebenkorn Painting and Drawings 1943-1980 (New York: Rizzoli, 1980).
RIDING, ALAN. “Major Show of U.S. Art Opens in Mexico,” New York Times (20 November 1980), p. C24.
BROWN, MILTON. 100 Masterpieces of American Painting from Public Collections in Washington, DC (Washington, DC: Smithsonian Institution Press, 1983), pp. 238-39.
MCCLELLAND, DONALD R. “Discoveries in American Art,” Studio International 197, no. 1005 (1984), p. 9.
KIRSCH, JOAN. “Why Write Formal Grammars for Design,” Planning and Design (London: Pion Ltd., August 1985).
PETERSON, IVARS. “Computing Art: Can a Computer be Taught to Take a Painting’s Measure?,” Science News 129 (1 March 1986), p. 139.
NORDLAND, GERALD. Richard Diebenkorn (New York: Rizzoli, 1987), p. 201.
KIRSCH, JOAN L. and RUSSELL A. KIRSCH. “Storing Art Images on Intelligent Computers,” Leonardo 21, no. 4 (1988), p. 440, fig. 2 (also: fig. 6 in the supplemental issue).
MYERS, JACK FREDERICK. The Language of Visual Art: Perception as a Basis for Design (Fort Worth: Rinehart and Winston, 1989), p. 63, fig. 4.21.
UNSIGNED. Poster for Hirshhorn Museum and Sculpture Garden, printed March 1989.
FLAM, JACK. Richard Diebenkorn: Ocean Park (New York: Gagosian Gallery/Rizzoli, 1992), pp. 60-61.
UNSIGNED. “California Modern,” The New Yorker (6 October 1997), pp. 94-5.