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Matisse into Diebenkorn

Uploaded: Apr 18, 2017
Review of Matisse/Diebenkorn exhibit, San Francisco Museum of Modern Art, by Bill Carmel, MFA

(JAB note: This site limits the number of images that can be posted. I will attempt to post more images from Bill's review in a follow-on entry.)

I admit that anticipation of this show at SFMOMA featuring two artists whose work I admire was exciting for me, because a museum filled with many pieces of an artist’s work over a lifetime provides an opportunity to witness the evolution of an artist’s visual thoughts. Since Richard Diebenkorn attended exhibitions of works of Henri Matisse and studied original works in local collections, this exhibition places the relevant original works of both artists side by side as examples of the firsthand source material that served as Diebenkorn’s visual edification.

The big idea here is that Matisse is demonstrated to be a significant influence upon another artist, Diebenkorn, and the result is that Diebenkorn was inspired to take his painting to a new, higher level. Such a scenario is played out by creative people in all disciplines all the time. This exhibit demonstrates the idea that a creative person may be drawn ineffably to the work of another artist and that this attraction may then transform the creative person’s new work into something both authentic and masterful. This is an iconic concept, especially for young artists: incorporating the natural attraction to external images, wordplay, sounds, movement, ideas, and the other elements and principles of composing, theorizing, and innovating so that this information enriches the new work.

This exhibit does not disappoint. The curators included works that document Diebenkorn’s rise into mastery and his profound love of Matisse’s work. Diebenkorn actively sought out and studied the original work of Matisse and collected reference material about Matisse for his library.

The paintings are arranged chronologically and thematically so that comparisons of painterly technique, style, and composition can be easily observed. When and where Diebenkorn saw what of Matisse is graphed well at the exhibition’s beginning. The first room offers an introduction showing the beginnings of Diebenkorn’s fascination with Matisse.

One of my first observations was that Diebenkorn and Matisse shared a similar color palette, as do many artists who paint with pigments made into commercially available paints. What is most striking is that both artists extensively employ the old masters’ technique of applying a wet color over another dried color to achieve a third color effect. It must be that Diebenkorn looked at the Matisse originals very carefully, because the underpainting colors and the scumbled (overpainting) colors are so similar in many examples in the show. Both artists use an ancient technique in which a complementary color is painted over the underpainting color. Similar oranges are painted over similar blues, similar reds are painted over similar greens, and similar violets are painted over similar yellows, and vice versa. Precise control of shade, tint, and hue is possible in this way. In many cases, the overpainting is so thin that it can be called a glaze. Frequently the mixing of white paint with other pigment to achieve a pastel tint is similar in both: cobalt blue mixed with white over magenta mixed with white.


Still Life with Dance, Matisse


Urbana 5, Diebenkorn*

Throughout his career, and with care, honor, and devotion, Diebenkorn used visual passages and designs from Matisse. This is especially evident in Diebenkorn’s travels to Russia’s Hermitage Museum and the pattern of wallpaper contained in Matisse’s The Red Room. Also note the grillwork in architectural iron railings in both. The references are not exact, not verbatim, but changed in subtle ways so that the designs, forms, and space become part of a growing personal visual vocabulary, the lexicon.


Red Room, Matisse


Recollection of a Visit to Leningrad, Diebenkorn


This is the nature of creativity, a known phenomenon, where creative people may come across other artists’ creations that inspire them and capture their attention and this condition opens the inspired artist to create something new and original. The exhibit invites this to happen. We all dip into the same river and come out with something different. This is one of the best examples of emergent thinking. Emergent thinking happens when certain facts are taken in and applied to consciousness without being analyzed in a scientific way. Matisse took the aesthetic information in his time and transformed it into something different than before. In his time, Diebenkorn took the aesthetic information from Matisse and transformed it into something new and wonderful.

One of the benefits of the younger artist’s studying the older is that the younger can view the evolution of the elder’s work. The paintings of Matisse become looser and looser (painterly) as time goes on, in both the underpainting and the scumbling. As is the style of many contemporary artists, Diebenkorn uses expressive, painterly strokes to paint a form, a space, a part of a canvas. Matisse would have seen this technique in painters around him and in historical paintings during his lifetime. Diebenkorn had even more occasion to observe the loose brushstroke technique and used it to great advantage.

Abstraction as a principle of constructing form and space became mainstream during the life of Matisse. For Diebenkorn it was part of the milieu.

The exact movement of the artist’s body during application of paint is unique to each artist. I saw it first in the work of Rembrandt and then understood more when I saw Frans Hals and then J.M.W. Turner. I call it the visual representation of the central nervous system. Turner learned from Hals, Hals learned from Rembrandt, and so on. Matisse would have seen many examples of all these artists’ work during his life. Looseness of marks is a hallmark of style in art that has been present since the beginning. What is prized among working artists and collectors is the individual precise control of these loose marks. The mystery unfolds in our consciousness as these marks are observed and processed by our brains into form, space, and meaning.

One of the images Diebenkorn uses in many of his figurative and interior compositions is the folding chair. It is everywhere in the work on display. Such chairs are ubiquitous in artists’ studios. When I saw the folding chair image in many drawings and paintings, it occurred to me that the folding chair can be used as a metaphor for how he constructs the space of his interiors, his figurative work, his landscapes, and finally his large abstractions. This kind of chair is easily folded and easily transported to wherever needed. This is what I see Diebenkorn and Matisse do with the spaces and forms in their canvases. The larger geometric divisions within the picture plane divide the space into areas that contain multiple perspectives and points of view. Cubism developed during the life of Matisse and by 1910 had become commonplace as a way of folding and unfolding space.

There are many historical variations on how space is divided so that information about different scenes of a story may be revealed. Consider a painting, The Annunciation, from the early Renaissance, that tells a story; different events in the story are portrayed in different parts of the painting. The painting, by an unknown artist, is in the Italian section of the Palace of the Legion of Honor in San Francisco. Mary is penitent, Mary is visited by the angel, Mary is pregnant, Mary gives birth—all in the same painting. The doors of the baptistery in Florence, The Gates of Paradise by Ghiberti, is another example. Each panel tells a story that has several parts. Panel 1 shows Adam and Eve, their creation, disobedience, and expulsion. This panel is famous for the creation-of-Eve “cosmic egg” design in the middle and for the tragic backward glance of Eve outside the gate of Eden. By telling visual stories, artists fold and unfold space, time, and form.

In Diebenkorn’s paintings, space, time, and form are folded like his folding chair; transported to another part of the canvas; and then unfolded as a way to support his ideas. Viewing his work is like being inside a tesseract that folds and unfolds as our attention is presented with new visual cues. Genius. Masterful. Diebenkorn invites us to unfold our chairs and sit awhile. It’s why his work works. The world that becomes evident is magical in the way it works. By the time the exhibit has been traversed, one’s mind and body have become comfortable with the expansive experience. I invite you to bring your own folding chair to this exhibit and experience how creativity is inspired and unfolds in Diebenkorn, the artist.

*Images courtesy of SFMOMA.

Comments

 +   1 person likes this
Posted by herblover, a resident of San Ramon,
on Apr 18, 2017 at 10:22 pm

Thank you for this interesting review which 'takes the lid off' this interesting exhibit and looks underneath to reveal what's going on. Well done.


 +   2 people like this
Posted by Cholo, a resident of another community,
on Apr 19, 2017 at 10:04 am

There are examples of "artists" that steal the actual art work of another artist, deconstruct and re-contextualize the stolen art, in order to gain a reputation.

An "artist" such as Baldessari steals all the time. Some might argue that he's a "genius" but in my opinion, he's a clever thief. He engages in a visual slight of hand, and other artist's, who actual art has been stolen, are never acknowledged.

Baldessari will often attribute his vision to his influences, other well known artists whose art he has always admired and who stand out in contemporary art history. Good liars can do that! Fess up John...

Baldessari was a doctoral art history student at UC Berkeley until he finally engaged in practices that eventually earned him an international reputation. There's a heartlessness in such fella as the JB, an intellectual Chatty Kathy...not much more.

He's overrated. bad boy no donut






 +  Like this comment
Posted by Cholo, a resident of another community,
on Apr 19, 2017 at 10:11 am

Correction: There's a heartlessness in such a bad boy as JB, an intellectual Chatty Kathy, not much more.

like a trump...he distorts, deceives the innocent, and plays games to control others...sad


 +  Like this comment
Posted by Cholo, a resident of another community,
on Apr 19, 2017 at 10:33 am

A very interesting program: Certificate in Art Theft:

Web Link


 +   2 people like this
Posted by Elaine D, a resident of Danville,
on Apr 20, 2017 at 2:54 pm

Thank you for this very informative essay; it deepened my appreciation of the exhibit. I enjoyed the writer's impressive knowledge of art history and his ability to write so clearly about a complex subject.


 +  Like this comment
Posted by Cholo, a resident of another community,
on Apr 21, 2017 at 10:19 am

John...don't you think that some people look just like their dogs"

Web Link

Is this art or what? duh...

Years ago I saw a dog that looked just like Lady Bird Johnston...sure did...just something I enjoy seeing.


 +   2 people like this
Posted by JChamberlin, a resident of Walnut Creek,
on Apr 21, 2017 at 2:00 pm

Informative article about the Matisse/Diebenkorn Exhibit. I recently saw the exhibit and was tremendously absorbed, intrigued and inspired.
I find your analysis about the folding chair to be astute and enlightening. It reveals your ability to reveal and expound on an interesting point, being that the folding chair is such an ordinary object yet he repeated the subject, begs the question, 'what's with the chair?' Whether Diebenkorn was intending or even aware of your(Bill Carmel) insights, it rings true none the less. This is a show that begs to be seen more than once. Great article Bill.


 +   1 person likes this
Posted by T W, a resident of another community,
on Apr 21, 2017 at 9:57 pm

So erudite! I very much agree with herblover, Elaine D, & JChamberlin's comments. Your clarity, breath of knowledge, perceptive insights & keen observations greatly enriched my understanding & apreciation of these magnificent painters. Your review really helped to bring these paintings to life for me in a way that they hadn't been.. Reading this was an honor & great privilege. Thank you for sharing this, & I hope you are able to continue writing these wonderful reviews. You would also be a very exciting & stimulating art history/art appreciation instructor.Ever consider doing this?


 +  Like this comment
Posted by Thais Helena, a resident of Danville,
on Apr 21, 2017 at 10:57 pm

Dear Bill, your thoughts and vision about art are always a source of inspiration. Thank you for guiding us by this unique way throught the work of these two masters. Namaste, Thais


 +  Like this comment
Posted by Relizabeth, a resident of another community,
on Apr 23, 2017 at 2:25 pm

This article is a brief Art History course told technically and yet with insight, explanation and metaphor that even a layman can understand and enjoy.
It inspires one not to miss this exhibit.
Thank-you!


 +  Like this comment
Posted by Mike, a resident of another community,
on Apr 24, 2017 at 8:57 pm

Very informative article, Bill! :)
Your finding on glaze, esp. blue on yellow, is very inspiring. For colors, I also noticed Matisse used black a lot. Diebenkorn, instead, used traditional contracts. (red vs. green) This makes their works have different feelings. Matisse's work shows pleasure and comfort. Diebenkorn's is warm and 'mystic'. Diebenkorn mixed many white in his colors, particularly in his late works. (maybe it's the difference between California and south France)

The other thing I noticed about Diebenkorn is the size of his works. Probably as an influence by contemporary expressive abstract movement, his canvas is really large. The way how he splits canvas reminds me of Clifford Hill and Mark Rothko. Both of they lived and worked in San Francisco at 1940s. They may have seen each other, or at least their works, I guess.


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