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Berkeley No. 59

Experience Richard Diebenkorn's 'Berkeley No. 59'! This vibrant abstract landscape captures California’s essence with bold colors and gestural brushstrokes, a masterpiece of Bay Area Figurative art.

Explore Richard Diebenkorn's art: from Abstract Expressionism & Bay Area Figurative to the iconic Ocean Park series! Discover his lyrical abstractions and California landscapes.

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Quick Facts

  • Artistic style: Geometric abstraction
  • Subject or theme: Coastal landscape
  • Artist: Richard Diebenkorn
  • Medium: Oil on canvas
  • Movement: Abstract Expressionism
  • Dimensions: 149.9 x 149.9 cm
  • Location: Private Collection

Art Quiz

There is only one correct answer for each question.

Question 1:
What artistic movement is most closely associated with Richard Diebenkorn’s ‘Berkeley No. 59’?
Question 2:
The painting 'Berkeley No. 59' primarily depicts:
Question 3:
Which technique is prominently featured in ‘Berkeley No. 59’?
Question 4:
Richard Diebenkorn was a key figure in which art movement based out of the Bay Area?
Question 5:
What does the layering of color blocks in ‘Berkeley No. 59’ primarily contribute to?

The Genesis of a Vision

Richard Diebenkorn’s “Berkeley No. 59,” painted in 1956, isn’t merely a depiction of the Californian coastline; it's an immersion into a specific mood, a distillation of light and atmosphere captured with remarkable immediacy. Born in Portland, Oregon, and deeply rooted in the Bay Area’s artistic landscape, Diebenkorn sought to translate his personal experience of California – its vastness, its shifting light, and its inherent sense of solitude – onto canvas. This work represents a pivotal moment in his career, marking a shift away from purely abstract expressionist tendencies towards a more grounded, lyrical approach that would define much of his subsequent output. The painting’s genesis lies in a transformative plane journey Diebenkorn took over the Pacific Ocean, revealing to him a new way of seeing and interpreting the landscape – one less focused on precise representation and more attuned to the interplay of color, texture, and emotional resonance.

A Symphony of Color and Gesture

The painting’s visual language is immediately arresting. Bold blocks of crimson-pink dominate the upper register, suggesting a dramatic sky ablaze with light, while below, washes of yellow and white evoke the shimmering reflection on water or sand. A darker, more subdued palette – encompassing deep purples, blues, and earthy browns – anchors the lower portion of the canvas, creating a sense of depth and grounding. Diebenkorn’s technique is characterized by an almost reckless abandon; thick impasto strokes are layered upon one another, building texture and dynamism across the surface. These visible brushstrokes aren't simply marks of application but contribute to the painting’s overall energy, conveying a feeling of spontaneous creation and emotional intensity. The artist masterfully utilizes color not as a descriptive tool, but as a vehicle for expressing mood and atmosphere – a technique deeply influenced by the Fauves and other early modernists who prioritized color over form.

Decoding the Composition

The composition itself is deceptively simple yet profoundly effective. The horizontal divisions create distinct planes, suggesting sky, land, and water, but these are not rigidly defined. Instead, they bleed into one another, creating a sense of fluidity and movement. A prominent diagonal line cuts across the canvas, acting as an implied horizon line and further emphasizing the painting’s dynamic energy. Diebenkorn deliberately eschews traditional perspective, opting instead for a flattened space where forms overlap and recede subtly through variations in color and texture. This flattening contributes to the painting's dreamlike quality, inviting the viewer to lose themselves within its vibrant surface.

Symbolism and Emotional Resonance

“Berkeley No. 59” transcends a simple landscape depiction; it’s imbued with a sense of quiet contemplation and perhaps even melancholy. The vastness of the sky, combined with the subdued tones of the lower section, evokes feelings of solitude and introspection – qualities that resonate deeply within the Bay Area's artistic community. The painting’s vibrant colors, however, suggest an underlying energy and vitality, hinting at the beauty and resilience of the Californian landscape. It is a testament to Diebenkorn’s ability to capture not just what he saw, but also what he felt – his personal connection to the land and its spirit. The subtle layering of color and texture creates a tactile quality, inviting viewers to engage with the painting on an emotional level.

A Legacy in Reproduction

Reproductions of “Berkeley No. 59” capture much of the original’s power, offering a window into Diebenkorn's unique vision. The bold colors and dynamic brushstrokes translate beautifully to print, allowing viewers to experience the painting’s energy and emotional depth even outside of its original context. This iconic work remains a cornerstone of American art, embodying the spirit of California and continuing to inspire artists and collectors alike.


Artist Biography

Early Life and Artistic Foundations

Richard Diebenkorn, born in Portland, Oregon, in 1922, embarked on a journey that would establish him as one of the most significant American painters of the postwar era. His family’s relocation to San Francisco when he was just two years old proved formative, imbuing his artistic sensibility with the light and atmosphere of California—a landscape that would become inextricably linked to his work. Even in childhood, a profound inclination towards drawing manifested itself, signaling an early dedication to visual expression. This innate passion led him to Stanford University in 1940, where he encountered pivotal mentors like Victor Arnautoff, who instilled a rigorous classical discipline with oil paint, and Daniel Mendelowitz, who shared his admiration for the evocative realism of Edward Hopper. Hopper’s influence is readily apparent in Diebenkorn's early paintings, characterized by a quiet introspection and a masterful handling of light and shadow. These formative years laid the groundwork for a career defined by both technical skill and emotional depth.

Navigating Abstraction and Figuration

The landscape of American art underwent a dramatic shift in the wake of World War II, with the center of artistic innovation moving from Paris to New York. Diebenkorn keenly felt this change, enrolling at the California School of Fine Arts (now the San Francisco Art Institute) and embracing abstract expressionism as his primary mode of self-expression. He found inspiration in the work of artists like Clyfford Still, Arshile Gorky, Hassel Smith, and Willem de Kooning, absorbing their bold experimentation with form and color. However, Diebenkorn was not content to simply follow established trends. Alongside Elmer Bischoff, Henry Villierme, David Park, and James Weeks, he became a leading figure in the Bay Area Figurative Movement—a conscious return to representational painting after the dominance of abstract expressionism. This transition wasn’t abrupt; it was a gradual process of reintroducing recognizable forms into his work, blending abstraction's emotional intensity with figuration’s narrative potential. He sought to bridge the gap between inner experience and external reality, creating paintings that were both deeply personal and universally resonant.

The Ocean Park Series: A Defining Achievement

In 1967, Diebenkorn embarked on a series of paintings that would come to define his career—the *Ocean Park* series. Named after the Santa Monica neighborhood where he lived and worked, these geometric, lyrical abstract paintings represent a culmination of his artistic explorations. Unlike the gestural spontaneity of abstract expressionism or the direct representation of Bay Area Figurative work, the *Ocean Park* paintings are characterized by a carefully considered composition, subtle color palettes, and a sense of serene order. These weren’t depictions of Ocean Park itself, but rather distillations of its light, space, and atmosphere—evocations of place through abstract form. He explored printmaking alongside his painting, beginning with drypoint in 1961 at UCLA, and forging a long-lasting collaboration with Kathan Brown at Crown Point Press from 1965 to 1992, producing numerous prints that further expanded his artistic vocabulary. The *Ocean Park* series garnered widespread critical acclaim, establishing Diebenkorn as a major force in contemporary art.

Legacy and Lasting Influence

Richard Diebenkorn’s influence on postwar American art is undeniable. His ability to synthesize abstract expressionism, lyrical abstraction, and figurative painting created a unique artistic voice that resonated with artists for generations. A significant retrospective at the Pasadena Art Museum in 1960—later shown at the California Palace of the Legion of Honor in San Francisco—cemented his reputation as a leading figure in the art world. He didn’t adhere to any single dogma, instead forging his own path by embracing experimentation and following his artistic intuition. His work continues to inspire artists and collectors alike, celebrated for its beauty, complexity, and emotional depth. Diebenkorn's passing in 1993 marked the end of a remarkable career, but his legacy lives on through the enduring power of his paintings—a testament to his innovative spirit and unwavering commitment to artistic vision. His work remains a poignant reminder of the transformative potential of art.
Richard Diebenkorn

Richard Diebenkorn

1922 - 1993 , United States of America

Quick Facts

  • Artistic Movement Or Style:
    • Abstract Expressionism
    • Bay Area Figurative
    • Lyrical Abstraction
  • Artists Or Movements Influenced By This Artist: ['Postwar American art']
  • Artists Who Influenced This Artist:
    • Edward Hopper
    • Clyfford Still
    • Arshile Gorky
  • Date Of Birth: April 22, 1922
  • Date Of Death: 1993
  • Full Name: Richard Diebenkorn
  • Nationality: American
  • Notable Artworks:
    • A Day at the Races
    • Ocean Park No. 32
    • Chabot Valley
  • Place Of Birth: Portland, USA