Paper

Student Artwork Guide

Berkeley No. 23

Name Class Date

Richard Diebenkorn, Berkeley No. 23. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Richard Diebenkorn wikioo.org/en/artists/richard-diebenkorn/
Artist’s dates
1922 – 1993
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.

In context

Berkeley No. 23 — Richard Diebenkorn

When might this have been painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990

Shaded: the lifetime of Richard Diebenkorn (1922–1993)

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wikioo.org/en/art/similar/richard-diebenkorn-berkeley-no-23-8XYUE7-en/

Colours

Measured from the image

    Main colour

    Cobalt Violet #8186a2

    Catalogued palette

    • #8186A2
    • #5A6548
    • #D3BDA7
    • #B57153
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Cobalt Violet
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    Richard Diebenkorn

    Born in Portland, United States of America

    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.

    Where to read more

    Find this online

    QR code linking to the download page for Berkeley No. 23

    wikioo.org/en/art/download/richard-diebenkorn-berkeley-no-23-8XYUE7-en/

    Cite this artwork

    MLA
    Diebenkorn, Richard. Berkeley No. 23. n.d., https://wikioo.org/en/art/richard-diebenkorn-berkeley-no-23-8XYUE7-en/
    APA
    Diebenkorn, Richard (n.d.). Berkeley No. 23 [Painting]. https://wikioo.org/en/art/richard-diebenkorn-berkeley-no-23-8XYUE7-en/
    Chicago
    Richard Diebenkorn. Berkeley No. 23. n.d. https://wikioo.org/en/art/richard-diebenkorn-berkeley-no-23-8XYUE7-en/
    Harvard
    Diebenkorn, Richard (n.d.) Berkeley No. 23. Available at: https://wikioo.org/en/art/richard-diebenkorn-berkeley-no-23-8XYUE7-en/

    Look closely

    Berkeley No. 23 — Richard Diebenkorn

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Berkeley No. 57 (1955), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.