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Matisse/Diebenkorn
This sumptuously illustrated book brings together the work of Henri Matisse and Richard Diebenkorn as never before, illuminating unexpected resonances that connect the two artists across time and space. Featuring stunning pairings of more than 80 paintings and drawings, this book charts the evolution of Matisse’s impact on Diebenkorn over the course of Diebenkorn’s career. Though they never met, Matisse was an enduring source of inspiration for the Californian artist, and their works share surprising similarities in subject, composition, palette, and technique. Essays by Janet Bishop and Katherine Rothkopf explore how this influence evolved over time, connecting the work of the two painters and highlighting the ways Diebenkorn drew from Matisse’s example to forge a style entirely his own. The volume is rounded out by an introduction by John Elderfield, who knew Diebenkorn personally and has curated exhibitions of both artists’ work; an essay by Jodi Roberts on parallels between the artists’ drawings; and a bibliography documenting Diebenkorn’s collection of books about the French artist. The first in-depth examination of the relationship between the work of Diebenkorn and Matisse, this publication offers new ways of understanding both artists.
184 pages, Hardcover
Published October 23, 2016
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Displaying 1 - 10 of 10 reviews
May 29, 2017
I really enjoyed the museum exhibit and then this catalog. I am a fan of Matisse and a fan of Diebenkorn. It was fascinating seeing their works presented together and learning about how Diebenkorn used Matisse’s art as an inspiration for his own art. Because of that connection and the way the artworks are shown, it’s one of the most brilliant exhibits I’ve ever seen.
The book is excellent. If I hadn’t seen the exhibit though I might have given it only 4 or maybe 4 ½ stars, but this book does a reasonably good job showing the scope of the exhibit. There are excellent and well-presented paintings and drawings in the book and the essays do give more information than what is included as descriptions on the museum walls, but in order for the exhibit to be fully appreciated it really must be seen as intended, in a museum. Standing in all the rooms and being surrounded by the art was key for me in being so emotionally moved.
If you can’t see it the exhibit in person (I think today is its last day at SFMOMA) the book is still worth reading. Because I’m so interested in the topic I really enjoyed the essays, and some of my favorite paintings by both artists are included in the exhibit/catalog so I thoroughly enjoyed it, going back to view certain art pieces multiple times. If I was buying books, it’s probably one I’d want to own.
Highly recommended for all Matisse fans and especially for all Diebenkorn fans. If you love both artists, or are interested in art history, this is a must read/see book.
The book is excellent. If I hadn’t seen the exhibit though I might have given it only 4 or maybe 4 ½ stars, but this book does a reasonably good job showing the scope of the exhibit. There are excellent and well-presented paintings and drawings in the book and the essays do give more information than what is included as descriptions on the museum walls, but in order for the exhibit to be fully appreciated it really must be seen as intended, in a museum. Standing in all the rooms and being surrounded by the art was key for me in being so emotionally moved.
If you can’t see it the exhibit in person (I think today is its last day at SFMOMA) the book is still worth reading. Because I’m so interested in the topic I really enjoyed the essays, and some of my favorite paintings by both artists are included in the exhibit/catalog so I thoroughly enjoyed it, going back to view certain art pieces multiple times. If I was buying books, it’s probably one I’d want to own.
Highly recommended for all Matisse fans and especially for all Diebenkorn fans. If you love both artists, or are interested in art history, this is a must read/see book.
March 6, 2017
One of the rewards of being married to an artist is the opportunity to examine art with greater attention than one might normally, whether on museum walls or in coffee table volumes like this lavish volume.
Henri Matisse (1869-1954) is a name familiar to most everyone, but Richard Diebenkorn (1922-1993), who lived and worked in California, is one of the finest painters of the late 20th century who may be unfamiliar to non-artists. Their dual exhibition and book are a collaboration of the Baltimore Museum of Art and the San Francisco Museum of Modern Art.
Diebenkorn never met Matisse, but their connection is richly documented in Diebenkorn’s life and work. Diebenkorn attended virtually every major Matisse exhibition in the United States and owned every catalog. An opportunity to study the Hermitage’s unparalleled collection of Matisse paintings and drawings in Leningrad was, in Diebenkorn’s own words, life changing. Few artists have studied another as closely as Diebenkorn did Matisse.
Diebenkorn began as a San Francisco abstractionist, shifted to figurative (but not realistic) painting. After a move to Los Angeles, he returned to abstract painting in his extensive Ocean Park series.
Like Matisse, Diebenkorn was a superb draftsman who sketched virtually every day of his life. He regarded his completed drawings as finished works of art and rarely as preliminary studies for color paintings. Matisse felt exactly the same way.
Diebenkorn was more than a Matisse acolyte, but he did engage in a rich dialogue with Matisse about using color and abstraction to evoke mood and emotion. The Matisse-Diebenkorn interplay of color, theme, abstraction, and figures in the books side-by-side plates is fascinating.
I loved the book’s juxtaposition of Matisse’s “Yellow Dress” (1929-1930) with Diebenkorn’s “Yellow Collage” (1966), which is a figure of his wife in pasted paper, gouache, and ink. Another pair that struck me was “Blue Window” (Matisse, 1913) and “Woman on a Porch” (Diebenkorn, 1958).
Both painters shared a fascination with flattered tableaus of color and shape , with abstracted figures often defined by thick black outlines. Neither apparently gave a damn about perspective.
Here is Diebenkorn on Matisse (in a statement that the editor notes could be applied to Diebenkorn’s own work):
It is the restraint coupled with the sensuousness that’s so utterly exceptional. It’s a musical thing: this transition here, this color here, a wild surprise here that becomes, a little further up, well, just a gentle part of the harmony.
Henri Matisse (1869-1954) is a name familiar to most everyone, but Richard Diebenkorn (1922-1993), who lived and worked in California, is one of the finest painters of the late 20th century who may be unfamiliar to non-artists. Their dual exhibition and book are a collaboration of the Baltimore Museum of Art and the San Francisco Museum of Modern Art.
Diebenkorn never met Matisse, but their connection is richly documented in Diebenkorn’s life and work. Diebenkorn attended virtually every major Matisse exhibition in the United States and owned every catalog. An opportunity to study the Hermitage’s unparalleled collection of Matisse paintings and drawings in Leningrad was, in Diebenkorn’s own words, life changing. Few artists have studied another as closely as Diebenkorn did Matisse.
Diebenkorn began as a San Francisco abstractionist, shifted to figurative (but not realistic) painting. After a move to Los Angeles, he returned to abstract painting in his extensive Ocean Park series.
Like Matisse, Diebenkorn was a superb draftsman who sketched virtually every day of his life. He regarded his completed drawings as finished works of art and rarely as preliminary studies for color paintings. Matisse felt exactly the same way.
Diebenkorn was more than a Matisse acolyte, but he did engage in a rich dialogue with Matisse about using color and abstraction to evoke mood and emotion. The Matisse-Diebenkorn interplay of color, theme, abstraction, and figures in the books side-by-side plates is fascinating.
I loved the book’s juxtaposition of Matisse’s “Yellow Dress” (1929-1930) with Diebenkorn’s “Yellow Collage” (1966), which is a figure of his wife in pasted paper, gouache, and ink. Another pair that struck me was “Blue Window” (Matisse, 1913) and “Woman on a Porch” (Diebenkorn, 1958).
Both painters shared a fascination with flattered tableaus of color and shape , with abstracted figures often defined by thick black outlines. Neither apparently gave a damn about perspective.
Here is Diebenkorn on Matisse (in a statement that the editor notes could be applied to Diebenkorn’s own work):
It is the restraint coupled with the sensuousness that’s so utterly exceptional. It’s a musical thing: this transition here, this color here, a wild surprise here that becomes, a little further up, well, just a gentle part of the harmony.
April 25, 2017
4.25 / 5.0
Fantastic Reproductions of Paintings. Essays are clear and informative and reference appropriate catalog items clearly. Organization of catalog could be improved as it is tough to quickly find referenced works. Biographical data is limited to what directly relates to art referenced. Explanation of relevant links between Matisse work and coresponding Diebenkorn derivative is very detailed and accurate. Linkages are not stretched to correspond to theme but rather become apparent naturally. Great exhibit is well served by catalog.
Fantastic Reproductions of Paintings. Essays are clear and informative and reference appropriate catalog items clearly. Organization of catalog could be improved as it is tough to quickly find referenced works. Biographical data is limited to what directly relates to art referenced. Explanation of relevant links between Matisse work and coresponding Diebenkorn derivative is very detailed and accurate. Linkages are not stretched to correspond to theme but rather become apparent naturally. Great exhibit is well served by catalog.
February 10, 2019
Essays are a mixed bag, but the selections and pairings are fantastic. I love Diebenkorn’s work and this book gave me a deeper understanding of his artistic progression.
December 17, 2019
I saw this exhibit in Baltimore, and though a book can never capture the impact of that experience, it works well as a vehicle to compare the similarities between the two artists, and the way Diebenkorn took Matisse's color and form and turned them into something which reflects the older artist, but is also luminous in its own way and completely new.
The essays expand on the visuals, tracing Diebenkorn's attraction to the work of Matisse, which started when he was an art student and continued throughout his life. I was especially interested to learn that Matisse was one of the first artists to consider a drawing to be its own work of art, not just a study for larger works. He took his drawings as seriously as his painting, reworking them in a process of experimentation and discovery, a practice Diebenkorn, who drew every day, followed as well.
I have to return the book to the library as it is on hold, but I will be putting it on hold again myself--it's definitely worth revisiting.
The essays expand on the visuals, tracing Diebenkorn's attraction to the work of Matisse, which started when he was an art student and continued throughout his life. I was especially interested to learn that Matisse was one of the first artists to consider a drawing to be its own work of art, not just a study for larger works. He took his drawings as seriously as his painting, reworking them in a process of experimentation and discovery, a practice Diebenkorn, who drew every day, followed as well.
I have to return the book to the library as it is on hold, but I will be putting it on hold again myself--it's definitely worth revisiting.
March 22, 2018
This exhibition catalog is truly illuminating and riveting. So much so, it convinced me to buy plane tickets for the weekend to see the show myself. The eloquence and sheer knowledge in the essays was something that cultivated a deep love for the pieces, but more so a greater excitement of the importance of looking back to create new and dynamic works of art.
June 2, 2017
This exhibition catalog from the Matisse/Diebenkorn show is a fine document, analyzing how the American painter, most often associated with his lovely abstractions was profoundly influenced by the works of French Modernist Henri Matisse. Beautiful reproductions convey the essence of these works.
April 10, 2020
Beautiful illustrations; minimal text. A nice memento of the exhibition.
August 21, 2026
Fascinating pairs of masterpieces from Matisse and Diebenkorn uncover how one master inspires the creativity of another. Beautiful large prints.
August 5, 2017
These are two of my favorite artists, so I enjoyed experiencing this exhibit on paper because I could easily compare Matisse's paintings on the left-side to Diebenkorn's on the right. I would have loved to see this exhibit in person, and I think that experience would fill in the gaps of my understanding of the two artists. While I couldn't fly across the country to see it in person, what a great experience to still get to see these artists side by side!
Displaying 1 - 10 of 10 reviews