Ocean Park #79

Date: 1975
93 x 81 in. (236.2 x 205.7 cm)
Signed:"RD 75" lower right
Credit Line: Philadelphia Museum of Art, purchased with a grant from the National Endowment for the Arts and with funds contributed by private donors, 1977, 1977-28-1
Cat. raisonné no.:4195
Obj. no.: 1495

Nordland monograph 1987, 181, 182; John Updike, Just Looking: Essays on Art (New York, 1989), 114, 115; John Updike, "Some Rectangles of Blue," Art and Antiques, February 1989, 62, 63; Kathie Roberts Garrigus, "The Real Thing," Art and Antiques, Summer 1989, 16; Linda Yablonsky, "California Dreaming: The Whitney Surveys a Left-Coast Master," Time Out New York, 23–30 October 1997, 44; Arthur C. Danto, "Richard Diebenkorn," Nation, 5 January 1998, 32; John Loughery, "American Art: The Center and the Edge," Hudson Review 51, no. 1 (Spring 1998): 187; Ann Temkin, Susan Rosenberg, and Michael Taylor, Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (Philadelphia, 2000), 125; Leda Cempellin, L’iperrealismo 'fotografico' americano in pittura: Risonanze storiche nella East e nella West Coast (Padua, 2004), 197, fig. 4; Barbara Weidle, "Richard Diebenkorn," Künstler: Kritisches Lexikon der Gegenwartskunst 73, no. 2 (January–March 2006): 3; Laura Garrard, Colourfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present (Kent, U.K., 2007), 155; Frederick J. Gravetter and Larry B. Wallnau, Essentials of Statistics for the Behavioral Sciences, 6th ed. (Belmont, Calif., 2007), cover; Stephen Farthing, ed., 501 Great Artists (Hauppauge, N.Y., 2008), 458; Richard and Susan Lewis, The Power of Art, 2nd. ed. (Stamford, Conn., 2008), 466, fig. 20-31; Al Gury, Color for Painters: A Guide to Traditions and Practice (New York, 2010), 51; Lyn Kienholz, L.A. Rising: SoCal Artists Before 1980 (Los Angeles, 2010), 144; Casey Perin, The Demands of Reason: An Essay on Pyrrhonian Scepticism (New York, 2010), cover; Charissa N. Terranova, "Between Landscape and Rightness," Arts+Culture Texas, September 2011, 10; Michael Granberry, "Critic's Picks: Museum Exhibitions," Dallas Morning News: Guide, 2–8 September 2011, 36; "The Modern Touts Diebenkorn," Fort Worth Weekly, 21–27 September 2011; John Brandenburg, "Texas Museum Hosts Works by Diebenkorn," Oklahoman (Dallas), 25 December 2011; Matthew Bourbon, "Reviews: Richard Diebenkorn, Modern Art Museum of Fort Worth," Art News, January 2012, 116; Daniella B. Walsh, "Ocean Park at OCMA," Newport Beach Magazine, January–February 2012, 6; Sarah Peters, "Diebenkorn's Big Show," Daily Pilot (Costa Mesa, Calif.), 24 February 2012; Richard Chang, "Swimming in Diebenkorn," Orange County Register, 25 February 2012; "Richard Diebenkorn: The Ocean Park Series," American Art Review, March–April 2012, 118; Sebastian Smee, "A West Coast Painter, At His Best: 'Ocean Park' Series Evokes an Eternal California," Boston Globe, 1 April 2012; Doug Harvey, "Reviews: Los Angeles, Richard Diebenkorn," Modern Painters 24, no. 4 (May 2012): 71; Richard Chang, "Visual Art: Top Events," Orange County Register, 25 May 2012; Jeffry Cudlin, "Rebel on the Beach," Washington City Paper, 6 July 2012; Ari Post, "Everything All at Once: Richard Diebenkorn at the Corcoran Gallery of Art," Georgetowner, 11–24 July 2012, cover, 4; Olivia Laing, "Lovely Imperfection," Guardian (London), 28 February 2015; Ian McKeever, "Painting on the Threshold," Royal Academy of Arts Magazine, Spring 2015, 50, also cited in text; Richard Dorment, "Journeying Through the Abstract and Into the Light," Daily Telegraph (London), 10 March 2015; Laura Cumming, "Long Day's Journey into Light," Observer New Review (London), 15 March 2015; JS Marcus, "Richard Diebenkorn: Royal Academy of Arts," The World of Interiors, April 2015, 258.

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