Seated Woman

Date: 1967
90 x 80 1/8 in. (228.6 x 203.5 cm)
Signed:"RD 67" lower right
Cat. raisonné no.:3907
Obj. no.: 1413

John Canaday, "Too Bad on One Hand, Pretty Good on the Other," New York Times, 21 January 1968; Henry J. Seldis, "Venice Biennale Opens in Midst of Student Crisis," Los Angeles Times, 23 June 1968; "Ex-Stanford Artist's Work in Smithsonian Exhibition," Palo Alto Times, 27 December 1968; "Venice 34," Art Education 22, no. 1 (January 1969): 25; Lois Wagner Green, "Emphasizing Art," Architectural Digest, July 1982, 45; Charles Shere, "Diebenkorn Looks Back and Ahead," Oakland Tribune Calendar, 29 May 1983; Frank Cebulski, "Richard Diebenkorn and the Humanly Abstract," Artweek, 2 July 1983, 1; Chris Martini, "California Letter: Richard Diebenkorn at the San Francisco Museum of Modern Art," Studio International 196, no. 1001 (August 1983): 61; John Berggruen, ed., John Berggruen Gallery (San Francisco, 1986), 26; John Gruen, "Artist's Dialogue: Richard Diebenkorn; Radiant Vistas from Ocean Park," Architectural Digest, November 1986, 56; Nordland monograph 1987, 142–44 (rev. ed. [2001], back cover); Erwin Leiser, "Er malt Figuren wie Stilleben: Richard Diebenkorn," Frankfurter Allgemeine Magazin, 21–27 May 1988, 10; John L. Ward, American Realist Painting, 1945–1980 (Ann Arbor, 1989), 87–88, fig. 44; William Feaver, "California Dreamin', Way Out of Sight," Observer (London), 20 October 1991; James Hall, "Embodying Movement," Times Literary Supplement (London), 25 October 1991; Simon Morley, "Richard Diebenkorn," Art Monthly (London), November 1991, 21; John Russell Taylor, "Unmatched Pair Play Winning Hand," Times (London), 12 November 1991; Michael Kimmelman, "Connections amid Diversity in Two London Retrospectives," New York Times, 19 November 1991; Michael Kimmelman, "A Life Outside," New York Times Magazine, 13 September 1992, 62; Meg Sullivan, "Artist's Abstract Works Finally Get California Home Audience," Daily News (Los Angeles), 13 September 1992; Julian Machin, "Richard Diebenkorn: A Rare Interview," San Francisco Chronicle, 17 November 1992; Jerry Carroll, "The Man Behind the Matisse Show," San Francisco Chronicle, 20 November 1992; Michael Kimmelman, "Richard Diebenkorn, Lyrical Painter, Dies at 71," New York Times, 31 March 1993; Francine Prose, "Diebenkorn's Many-Layered Delights," Wall Street Journal, 23 October 1997; Leo J. O'Donovan, "Coming Home," Washingtonian, May 1998, 62; Kenneth Baker, "Radiance and Grandeur: Diebenkorn Show at SFMOMA Conveys His Brilliant Merging of Landscape and Abstraction," San Francisco Chronicle, 9 October 1998; Donna Massini, Turning to Fiction: Poems (New York, 2004), cover; Kenneth D. Allan, The Figure's Regard: Privacy and the Gaze in Richard Diebenkorn's Santa Cruz Island Works, (illustrated transcript, lecture at Westmont College, Santa Barbara, Calif., 24 August 2005), 7; Jean Arrouye, ed., Cézanne, d'un siécle à l'autre (Marseille, 2006), 191; Emma Acker, Timothy Anglin Burgard, and Steven A. Nash, Richard Diebenkorn: The Berkeley Years, 1953–1966 (San Francisco: Fine Arts Museums of San Francisco, 2013), 209, pl. 144.

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