Knife in a Glass

Hilton Kramer, "Pure and Impure Diebenkorn," Arts Magazine, December 1963, 51; Robert T. Buck Jr. et al., Richard Diebenkorn: Paintings and Drawings, 1943–1976 (Buffalo: Albright-Knox Gallery, 1976), 29, 30, fig. 46; Nordland monograph 1987, 96, 97, 99; Chris Waddington, "Abstractionist's Work Is Shown in New York, Travels to Fort Worth," Times-Picayune, 20 December 1997; John Loughery, "American Art: The Center and the Edge," Hudson Review 51, no. 1 (Spring 1998): 186; Paul Richard, "Diebenkorn's Pacific Heights: At the Phillips, a Master Painter Brushes the Edge of Abstraction," Washington Post, 10 May 1998; John Dorsey, "Elegantly Balanced in the 20th Century: Richard Diebenkorn Found an Equilibrium between Abstraction and Representation, European and American Influences," Baltimore Sun, 5 July 1998; Martin Pops, "Diebenkorn in the Age of Rauschenberg," Salmagundi 120 (Fall 1998): 33; Susan Landauer, William H. Gerdts, and Patricia Trenton, The Not-So-Still Life: A Century of California Painting and Sculpture (Berkeley and Los Angeles, 2003), 91, 92, fig. 80; William Greenwood, "Visionary Geometry," Redwood Coast Review, Winter 2014, 10; Bart Schneider, ed., Richard Diebenkorn: Still Lifes and Landscapes (Berkeley, Calif., 2014), 19; Olivia Laing, "Lovely Imperfection," Guardian (London), 28 February 2015; JS Marcus, "Richard Diebenkorn: Royal Academy of Arts," The World of Interiors, April 2015, 259.