Diaghilev e os Ballets Russos, 1909-1929: quando arte dançava com música

Léon Bakst, Russian, 1866–1924, Costume design for Vaslav Nijinsky as the Faun from The Afternoon of a Faun, 1912, graphite, tempera, and gold paint on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

National Gallery of Art

East Building Mezzanine

até 06 de outubro de 2013

Aleksandr Golovin, Russian, 1863–1930, Costume worn by Fyodor Chaliapin in title role in the Coronation scene from Boris Godunov, c. 1908, silk and metal thread, glass beads, imitation pearls, metal, painted silk lining, replacement fur, V&A, London © Victoria and Albert Museum, London

O Balé Russo, a empresa mais inovadora da dança do século 20, impulsionou a arte do espetáculo a novas alturas através de colaborações inovadoras entre artistas, compositores, coreógrafos, dançarinos e designers de moda.

The Ballets Russes—the most innovative dance company of the 20th century—propelled the performing arts to new heights through groundbreaking collaborations between artists, composers, choreographers, dancers, and fashion designers.

Alexandre Benois, Russian, 1870–1960, Costume worn by Lydia Lopokova as a Sylph from Les Sylphides, c. 1916, silk and cotton net, with metal armature for the wings, V&A, London, Cyril Beaumont Bequest © Victoria and Albert Museum, London

Fundada pelo empresário russo Serge Diaghilev (1872-1929), em Paris, em 1909, a empresa combinou tradições russas e ocidentais com uma dose saudável de modernismo, emocionando e surpreendendo o público com a sua poderosa fusão de coreografia, música e design.

Founded by Russian impresario Serge Diaghilev (1872–1929) in Paris in 1909, the company combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design.

Léon Bakst, Russian, 1866–1924, Costume for a Brigand from Daphnis and Chloe, 1912, wool, cotton, and paint, V&A, London © Victoria and Albert Museum, London

Apresentando mais de 130 figurinos originais, conjunto de desenhos, pinturas, esculturas, gravuras e desenhos, fotografias e cartazes, Diaghilev e o Balé Russo também incorpora trechos de filmes em uma instalação multimídia teatral.

Showcasing more than 130 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, and posters, Diaghilev and the Ballets Russes also incorporates film clips in a theatrical multimedia installation. 

Pablo Picasso, Spanish, 1881–1973, Costume for the Chinese Conjuror from Parade, c. 1917, silk satin fabric with silver tissue and black thread, cotton hat with woolen pigtail, V&A, London © Victoria and Albert Museum, London

Adaptado a partir da exposição concebida e exibida pela primeira vez no Victoria and Albert Museum (V & A) em 2010, a apresentação em Washington se baseia na rica pesquisa, incluindo cerca de 80 obras do V & A renomada coleção de artefatos de dança, e acrescenta cerca de 50 objetos, generosamente oferecido por mais de 20 empréstimos, públicos e privados.

Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum (V&A) in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the V&A’s renowned collection of dance artifacts, and adds about 50 objects, generously offered by more than 20 lenders, private and public.

Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon's Wife from The Tale of the Buffoon, 1921, cane‑stiffened felt and cotton, V&A, London © Victoria and Albert Museum, London

O sucesso de Diaghilev dependia principalmente de sua capacidade de identificar e reunir os artistas mais criativos de sua época.

Diaghilev’s success depended primarily on his ability to identify and bring together the most creative artists of his day.

Henri Matisse, French, 1869–1954, Costume for a Mandarin from The Song of the Nightingale, 1920, satin, paint, and tinsel, V&A, London © Victoria and Albert Museum, London

Reconhecendo a vitalidade da arte contemporânea, ele chamou Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, e Giorgio de Chirico, entre outros, para criar designs conjunto dinâmico e trajes requintadamente decorados que partilhavam uma estética unificada.

Recognizing the vitality of contemporary art, he called upon Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, and Giorgio de Chirico, among others, to create dynamic set designs and exquisitely decorated costumes that shared a unified aesthetic.

Giorgio de Chirico, Italian, 1888–1978, Set design (scene 2) for The Ball, 1929, graphite and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund



Sonia Delaunay, French, 1885–1979, Costume for title role from Cleopatra, 1918, silk, sequins, mirror, and beads, wool yarn, metallic thread braid, lamé, Los Angeles County Museum of Art, Costume Council Fund © Pracusa 2012003; Digital Image © 2013 Museum Associates / LACMA / Licensed by Art Resource, NY

Eles, por sua vez, trouxe os mais importantes desenvolvimentos artísticos do início do século 20, incluindo-futurismo, cubismo e surrealismo, para o palco do ballet.

They in turn brought the most important artistic developments of the early 20th century—including futurism, cubism, and surrealism—to the ballet stage. 

Eugène Druet, French, 1868–1917, Vaslav Nijinsky in Siamese Dance from The Orientals, 1910, gelatin silver print, Lent by The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005

Diaghilev também encomendou dezenas de balés de compositores inovadores, como Igor Stravinsky, Sergei Prokofiev, e Erik Satie, e renomados dançarinos conhecidos por seu brio técnico, tornando a empresa um terreno fértil para a inovação musical e coreográfica: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento.

Diaghilev also commissioned ballet scores from innovative composers such as Igor Stravinsky, Sergei Prokofiev, and Erik Satie, and featured dancers noted for their technical brio, making the company a breeding ground for musical and choreographic innovation: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento. 

Amedeo Modigliani, Italian, 1884–1920, Léon Bakst, 1917, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection

As produções da trupe – especialmente a famosa Sagração da Primavera, agora comemorando o seu 100 º aniversário instigado uma revolução na dança.

The troupe’s productions—notably the infamous Rite of Spring, now celebrating its 100th anniversary—instigated a revolution in dance. 

Jacques‑Émile Blanche, French, 1861–1942, Vaslav Nijinsky in Siamese Dance, c. 1910, oil on canvas, Collection of Ann and Gordon Getty, San Francisco

Esta exposição pretende destacar essas e outras conexões promovidas por Diaghilev.

This exhibition seeks to highlight these and other connections fostered by Diaghilev. 


Alexandre Benois, Russian, 1870–1960, Design for the front cloth from Petrushka (Copenhagen revival), 1925, pen, ink, and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

Organizada pelo Victoria and Albert Museum, em Londres, em colaboração com a National Gallery of Art, Washington.

Organized by the Victoria and Albert Museum, London, in collaboration with the National Gallery of Art, Washington.

Coco Chanel, French, 1883–1971, Costumes for La Perlouse and a Gigolo from The Blue Train, 1924, knitted wool and wool, V&A, London © Victoria and Albert Museum, London


Nicholas Roerich, Russian, 1874–1947, Costumes for two Maidens and an Elder from The Rite of Spring, 1913, wool, leather, metal belts and necklace, napped cotton, wood, and fur, V&A, London © Victoria and Albert Museum, London

40 under 40: Futuros Artesanatos

Jeffrey Clancy, Tea for One, 2002, silver, mahogany, Smithsonian American Art Museum, Museum, purchase made possible by the Charles and Margaret, Craver Withers Bequest.

Renwick Gallery

Washington, DC

20 de julho de 2012, 03 de fevereiro de 2013

Stephanie Liner, Mementos of a Doomed Construct, 2011, upholstery, plywood, fabric, sequins, yarn, embroidery, adhesive, cardboard, Courtesy of the artist, photo by John Michael Kohler Art Center.

40 under 40: Futuros Artesanato apresenta o trabalho inovador de 40 artistas nascidos desde 1972, ano em que a Galeria Renwick foi estabelecida como ramo do Smithsonian American Art Museum para artes artesanais e decorativas.

40 under 40: Craft Futures features the innovative work of 40 artists born since 1972, the year the Renwick Gallery was established as the Smithsonian American Art Museum’s branch for craft and decorative arts.

Daniel Michalik assembling 3/1 Chair with Leon, photo by Nina Cinelli.

40 under 40 investiga noções de artesanato em evolução dentro das mídias tradicionais, como cerâmicas e metais, bem como em áreas tão variadas como escultura, desenho industrial, instalação de arte, design de moda, produção sustentável e matemática.

40 under 40 investigates evolving notions of craft within traditional media such as ceramics and metalwork, as well as in fields as varied as sculpture, industrial design, installation art, fashion design, sustainable manufacturing and mathematics.

Lara Knutson, Soft Glass Basket, 2011, Reflective glass fabric and steel wire, Courtesy of the artist, Photo by Eugene Young, Renwick Gallery 40 Under 40: Craft Futures, Designer: Christine Philp, Palindrome Design, www.palindromedesign.net.

Todos os trabalhos selecionados para exibição na exposição foram criados desde 11 de setembro de 2001. Este novo trabalho reflete o mundo modificado que existe hoje, que coloca novos desafios e considerações para os artistas.

All of the artworks selected for display in the exhibition were created since Sept. 11, 2001. This new work reflects the changed world that exists today, which poses new challenges and considerations for artists. 

Gabriel Craig, Pro Bono Jeweler 2, 2008-2010, CD-R, photo by Amy Weiks.

Estes 40 artistas estão unidos por filosofias para viver de forma diferente na sociedade moderna, com ênfase na sustentabilidade, um retorno à valorização do feito à mão e o que significa viver em um estado de conflito persistente e desconforto.  Nicholas R. Bell, The Fleur e Charles Bresler  curadores do Artesanato  Americano e Artes Decorativas da Galeria Renwick, organizaram a exposição.

These 40 artists are united by philosophies for living differently in modern society with an emphasis on sustainability, a return to valuing the hand-made and what it means to live in a state of persistent conflict and unease. Nicholas R. Bell, The Fleur and Charles Bresler Curator of American Craft and Decorative Art at the Renwick Gallery, organized the exhibition.

Erik Demaine and Martin Demaine, Green Balance, 2011, Mi-Teintes watercolor paper, Smithsonian American Art Museum, Gift of the artists in honor of the 40th anniversary of the Renwick Gallery.

"Quando a Galeria Renwick abriu em 1972, introduziu uma nova geração de artistas ao público americano", diz Elizabeth Broun, The Margaret e Terry Stent Diretor do Smithsonian Art Museum. "Estou animado que estamos prontos agora para apresentar a comunidade do museu estes 40 jovens artistas que irão inspirar uma nova geração."

“When the Renwick Gallery opened in 1972, it introduced a new generation of artists to the American public,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “I am excited that we are poised now to introduce to the museum’s community these 40 young artists who will inspire a new generation.”

Olek, Knitting is for Pus**** (detail), mixed media and 100 percent acrylic Red Heart yarn, Courtesy of the artist, photo by Olek.

Os 40 artistas presentes na exposição são: Vivian Beer, Melanie Bilenker, Jeffrey Clancy, Dave Cole, Cristina Córdova, Gabriel Craig, Jennifer Crupi, Erik Demaine, Joshua DeMonte, Brian Dettmer, Nick Dong, Joseph Foster Ellis, Jeff Garner, Theaster Gates, Sabrina Gschwandtner, Jenny Hart, Sergey Jivetin, Lauren Kalman, Lara Knutson, Stephanie Liner, Marc Maiorana, Sebastian Martorana, Christy Matson, Cat Mazza, Daniel Michalik, Matt Moulthrop, Christy Oates, Olek, Andy Paiko, Mia Pearlman, LJ Roberts, Laurel Roth, Shawn Smith, Jen Stark, Matthew Szösz, Uhuru (Jason Horvath e William Hilgendorf), Jamin Uticone, Anna Von Mertens, Stacey Lee Webber e Bohyun Yoon.

Sergey Jivetin, Poultry Accumulus Necklace, 2009, eggs, carbon fiber, gold, steel, Courtesy of the artist

and Ornamentum gallery.

The 40 artists featured in the exhibition are: Vivian Beer, Melanie Bilenker, Jeffrey Clancy, Dave Cole, Cristina Córdova, Gabriel Craig, Jennifer Crupi, Erik Demaine, Joshua DeMonte, Brian Dettmer, Nick Dong, Joseph Foster Ellis, Jeff Garner, Theaster Gates, Sabrina Gschwandtner, Jenny Hart, Sergey Jivetin, Lauren Kalman, Lara Knutson, Stephanie Liner, Marc Maiorana, Sebastian Martorana, Christy Matson, Cat Mazza, Daniel Michalik, Matt Moulthrop, Christy Oates, Olek, Andy Paiko, Mia Pearlman, L.J. Roberts, Laurel Roth, Shawn Smith, Jen Stark, Matthew Szösz, Uhuru (Jason Horvath and William Hilgendorf), Jamin Uticone, Anna Von Mertens, Stacey Lee Webber and Bohyun Yoon.

Christy Oates, Crane Chair, 2009, laser-cut and engraved plywood, maple veneer, bungee cord,

acrylic paint, wood dyes, Smithsonian American Art Museum, Gift of Miriam and Leon Ellsworth in honor of the 40th Anniversary of the Renwick Gallery

"Estamos vendo o início de um novo ciclo em artesanato contemporâneo, em que a urgência da idéia é de suma importância", diz Bell. "A indefinição de linhas disciplinares dentro do ofício é uma marca dos artistas do século 21 , estes 40 foram selecionados para mostrar o trabalho mais interessante de sua geração e para realçar as tendências recém-prevalentes no campo."

“We are seeing the beginning of a new cycle in contemporary craft, one in which the urgency of the idea is paramount,” said Bell. “The blurring of disciplinary lines within craft is a trademark of 21st-century artists; these 40 were selected to show the most engaging work of their generation and to highlight newly prevalent trends in the field.”

Cristina Cordova, Dulce, 2011, ceramic and cut paper, Smithsonian American Art Museum, Gift of Judy S. Weisman in honor of the 40th anniversary of the Renwick Gallery, Photo by Steve Mann, Renwick Gallery 40 Under 40: Craft Futures, Designer: Scott Cooke: www.scottcookedesign.com.

Em 2010, Bell revisou trabalhos por 2.000 artistas de todo o Estados Unidos. Selecionando galerias, mestres dos programas de artes plásticas, feiras, blogs e recomendações de colegas, ele escolheu os artistas cujo trabalho representam uma nova direção em artesanatos. Nenhum dos artistas selecionados jamais mostrou o trabalho no Smithsonian, e para a maioria, Washington, DC, é uma nova etapa.

In 2010, Bell reviewed work by 2,000 artists from across the United States. Scouring galleries, master’s of fine arts programs, fairs, blogs and colleague recommendations, he chose artists whose work represents a new direction in craft. None of the artists selected has ever shown work at the Smithsonian Institution, and for most, Washington, D.C., is a new stage.

Andy Paiko, Spinning Wheel, 2007, blown glass, cocobolo wood, steel, brass, leather, Smithsonian

American Art Museum, Gift of Peg and Bob Van Andel, photo by Andy Paiko.

O museu espera para adquirir obras de cada artista apresentado na exposição para comemorar o 40 º aniversário da Galeria Renwick e reforçar a sua coleção para o futuro.

The museum hopes to acquire works by every artist featured in the exhibition to commemorate the 40th anniversary of the Renwick Gallery and strengthen its collection for the future.

Sebastian Martorana, Impressions, 2008, marble, Smithsonian American Art Museum, Gift of Patricia A. Young in honor of the 40th Anniversary of the Renwick Gallery and the 30th Anniversary of the James Renwick Alliance.

Duas obras da exposição pode ser controladas diretamente pelo visitante -  A Estrutura II Sonica de  Matson e o Quarto Iluminado de Dong. Outras obras de Craig, Liner, Olek e Paiko estimulam a interação com o artista ou alguém afiliado com a obra de arte na ocasião.

Two works in the exhibition can be engaged directly by a visitor — Matson’s Sonic Structure II and Dong’s Enlightenment Room. Other works by Craig, Liner, Olek and Paiko encourage interacting with the artist or someone affiliated with the artwork on occasion.

Nick Dong, Enlightenment Room, 2008, handmade porcelain tiles, acrylic mirror tiles, LED lamp, Courtesy of the artist, photo by Nick Dong.

A Instalação dos trabalhos pela equipe do museu exposição começou no final da Primavera. Vários artistas estavam à mão para instalar obras pessoalmente, inclusive Dong, Ellis, Olek, Paiko e Pearlman.

Installation of work by the museum’s exhibition staff began late spring. Several artists were on hand to install works personally, including Dong, Ellis, Olek, Paiko and Pearlman. 

Uhuru (Jason Horvath & Bill Hilgendorf), Cyclone Lounger, 2011, Reclaimed Coney Island boardwalk (Ipe), with laser cut powder coated steel base, Smithsonian American Art Museum, Gift of Bill Higendorf and Jason Horvath in memory of Cynthia Bricker Hilgendorf, Gift of Fern Bleckner in celebration of Etta B. Brown’s 95th birthday, and Gift of Shirley Jacobs in honor of the 40th Anniversary of the Renwick Gallery, photo by Uhuru Design.

Fotografias a seguindo o progresso da exposição serão postadas no mural de fotos do flickr.com / photos / americanartmuseum. As informações sobre cada artista está disponível no site do museu em americanart.si.edu/renwick40.

Photographs following the progress of the exhibition will be posted to the museum’s photo stream at flickr.com/photos/americanartmuseum. Information about each artist is available on the museum’s website at americanart.si.edu/renwick40.

Dave Cole, Kevlar Romper (3 Piece Suit), 2008, Kevlar (used Gulf War bullet proof vest) cut, sewn,
and hand knit, Courtesy of the artist and DODGE gallery, photo by Casey McNamara.

O público pode participar da conversa sobre a exposição no Twitter, seguindo @ americanart e usando # renwick40.

The public can join the conversation about the exhibition on Twitter by following @americanart and using #renwick40.

Gabriel Craig, Deco Ring (sample from Pro Bono Jeweler 2), 2008, polymer clay, cubic zirconia, Smithsonian American Art Museum, Gift of Lloyd E. Herman, founding director and director emeritus of
the Renwick Gallery (1971-1986) in honor of the 40th Anniversary of the Renwick Gallery.

Stacey Lee Webber, Penny Shovel, 2011, pennies, Courtesy of the artist.

Sabrina Gschwandtner, Hula Hoop, 2010, 16mm film and polyamide thread, Smithsonian American Art Museum, Gift of Chris Rifkin in honor of the 40th Anniversary of the Renwick Gallery, Photo by Sabrina Gschwandtner, Renwick Gallery 40 Under 40: Craft Futures, Designer: Miriam Dillon, Barnes Vanz Architects, barnesvanze.com.

Jennifer Crupi, Ornamental Hands: Figure One, 2010, sterling silver, acrylic, inkjet print on vellum, courtesy of the artist, photo by Christian Luis.

Jen Stark, Power of Being, 2011, acid-free colored
paper on wood, Smithsonian American Art Museum,
Gift of Gwen and Jerry Paulson, Sandy and Norman
Mitchell, and Diane and Marc Grainer, photo by Jen
Stark.

Joshua DeMonte, Aqueduct Collar, 2008, gypsum, cyanoacrylate, Courtesy of the artist, photo by Joshua DeMonte.

Daniel Michalik, 3/1 Chair, 2011, recycled cork, FSC-certified ply, Smithsonian American Art Museum, Gift of Phyllis and Sidney Bresler in memory of Charles S. Bresler and in honor of Fleur Bresler, photo by Daniel Michalik.

Joseph Foster Ellis, China Tree, 2011, porcelain sauce pots, string, LED lights, Courtesy of the artist, photo by Joey Foster Ellis.

Shawn Smith, Between 1 and 0, 2011, 1-cm. wood cubes and spray paint, Courtesy of the Artist, Photo by teresa Rafidi.

Olek, Knitting is for Pus****, 2005-2011, mixed, media and 100 percent acrylic yarn, Courtesy of the artist, photo by Jeffrey Kilmer.

Matthew Szösz, Untitled (inflatable) No. 43, 2010, fused and inflated window glass, Smithsonian American Art Museum, Gift of Elmerina and Paul Parkman, in honor of the 50th anniversary of American studio glass,

Renwick Gallery
Pennsylvania Avenue at 17th Street N.W.
202-633-7970
Washington, DC

Richard Diebenkorn: The Ocean Park Series

Richard Diebenkorn, Ocean Park #105, 1978. Oil and charcoal on canvas, 100-1/8 x 93-1-8". Modern Art Museum of Fort Worth, Fort Worth; Museum Purchase, Sid W. Richardson Foundation Endowment Fund 

and The Burnett Foundation. © The Estate of Richard Diebenkorn.

Corcoran Gallery of Art
Washington, D.C.
30 jun 2012 a 23 set 2012

Richard Diebenkorn, Untitled No. 26, 1984. Gouache, acrylic, and crayon on paper, 24 x 38". Private collection; courtesy of Kim Hierston Art Advisory, New York. © The Estate of Richard Diebenkorn.

Richard Diebenkorn: A Ocean Park Series, uma retrospectiva de uma das mais importantes personificações do trabalho em pintura abstrata norte-americana está a mostra na Costa Leste exclusivamente na Corcoran.

Richard Diebenkorn: The Ocean Park Series, a retrospective of one of the most important bodies of work in American abstract painting is on view on the East Coast exclusively at the Corcoran.

Richard Diebenkorn, Ocean Park #138, 1985. Oil on canvas, 49-1⁄2 x 48-1⁄4". Private collection, courtesy Greenberg Van Doren Gallery, New York. ©The Estate of Richard Diebenkorn.

A Ocean Park Series é a primeira grande exposição de museu a se concentrar nesta série influente, feita entre 1967 e 1988. A exposição apresenta cerca de 80 obras - grandes telas, pinturas feitas em pequenas tampas de caixas de charutos, mixed-media, desenhos em papel, monotipias e gravuras - reunidas pela primeira vez oferecendo um mergulho completo da série através dos variadoas meios com os quais Diebenkorn trabalhou.

The Ocean Park Series is the first major museum exhibition to focus on this influential series, made between 1967 and 1988. The exhibition features nearly 80 works — large-scale paintings, smaller paintings made on cigar box lids, mixed-media drawings on paper, monotypes, and prints — brought together for the first time to offer a full exploration of the series through the varied media in which Diebenkorn worked.

Richard Diebenkorn, Ocean Park #43, 1971. Oil on canvas, 93 x 81". Collection of Gretchen and John Berggruen, San Francisco. © The Estate of Richard Diebenkorn.

Richard Diebenkorn (1922-1993) foi uma figura central na história da pintura moderna. A Ocean Park series distingue-se por grandes pinturas luminosas construidas em cima de um sistema estruturado, com extensa camadas de tinta translúcida raspadas e retrabalhadas - processos que são perceptíveis ao espectador.

Richard Diebenkorn (1922-1993) was a pivotal figure in the history of modern painting. The Ocean Park series is distinguished by large, luminous paintings that build upon a grid-like system, with extensive reworking and scraped layers of translucent paint — processes that are discernible to the viewer.

Richard Diebenkorn, Ocean Prk #36, 1970. Oil on canvas, 93 x 81". Orange County Museum of Art, Newport Beach; Gift of David H. Steinmetz. © The Estate of Richard Diebenkorn.

Suas obras sobre papel, incluindo gravuras, desenhos e colagens, são igualmente importantes, explorando o mesmo território visual, como as grandes telas.

His works on paper, including prints, drawings, and collages, are equally important, exploring the same visual territory as the large-scale canvases.

Richard Diebenkorn, Ocean Park #79, 1975. Oil on canvas, 93 x 81". Philadelphia Museum of Art, Purchased with a grant from the National Endowment for the Arts and with funds contributed by private donors, 1977. © The Estate of Richard Diebenkorn.

Composta por painéis monumentais, geométricos de cor saturada, as pinturas etéreas e poderosas da Ocean Park series capturam a psicologia do lugar que definiu a costa da Califórnia durante este tempo e mostra as inovações e improvisações de um artista cuja obra inspirou legiões de artistas e avançou muito no léxico da abstração.

Consisting of monumental, geometric panes of saturated color, the ethereal and powerful paintings in the Ocean Park series capture the psychology of place that defined the California coast during this time and showcase the innovations and improvisations of an artist whose work inspired legions of artists and greatly advanced the lexicon of abstraction.

Richard Diebenkorn, Ocean Park #16, 1968. Oil on canvas, 92-1⁄2 x 76". Milwaukee Art Museum, Gift of Jane Bradley Pettit. © The Estate of Richard Diebenkorn.

"Estas obras são investigações poderosas de espaço, luz, composição, e os princípios fundamentais da arte moderna, reunindo conceitos forjados por artistas como Henri Matisse e Pablo Picasso", disse Philip Brookman, curador-chefe e diretor de pesquisa do Corcoran, de coordenação curador da exposição.

"These works are powerful investigations of space, light, composition, and the fundamental principles of modern abstraction, bringing together concepts forged by artists like Henri Matisse and Pablo Picasso," said Philip Brookman, chief curator and head of research at the Corcoran, coordinating curator of the exhibition.

Richard Diebenkorn, Ocean Park #27, 1970. Oil on canvas, 100 x 81". Brooklyn Museum, Gift of the Roebling Society and Mr. and Mrs. William K. Jacobs, Jr. © The Estate of Richard Diebenkorn.

"Diebenkorn investigou a tensão entre o mundo real e sua própria paisagem interior para produzir alguns dos trabalhos mais inovadores, influentes e atemporais da arte durante este período decisivo de sua carreira.

"Diebenkorn investigated the tension between the real world and his own interior landscape to produce some of the most innovative, influential, and timeless works of art during this decisive period of his career.

Richard Diebenkorn, Ocean Park #83, 1975. Oil on canvas, 100 x 81". Corcoran Gallery of Art, Washington, DC. Museum Purchase with the aid of funds from the National Endowment for the Arts, the William A. Clark Fund, and Mary M. Hitchcock 1975.30. © The Estate of Richard Diebenkorn.

Estas não são paisagens ou interiores arquitetônicos, mas abstrações topograficamente enraizadas nas quais um sentido da luz distorcida surge através do processo de pintura. "

These are not landscapes or architectural interiors but topographically rooted abstractions in which a sense of the skewed light and place of that time emerges through the painting process."

Richard Diebenkorn, Cigar Box Lid #4, 1976. Oil on wood, 8-3⁄8 x 7-1⁄8". The Grant Family Collection. © The Estate of Richard Diebenkorn

A curadora da exposição  Sarah C. Bancroft, explica: "É uma oportunidade rara e única de trazer para um público mais amplo esta obra bem conhecida mas ainda pouco exposta, e é minha sincera esperança de que aqueles que visitem a exposição irão experimentar a desenfreada alegria, a calma e contemplação que essas obras estelares podem oferecer. "

Exhibition curator Sarah C. Bancroft explains, "It is a rare and unique opportunity to bring to a broader audience this well-known yet under-exhibited body of work, and it is my sincere hope that those who visit the exhibition will experience the riotous calm, joy, and contemplation that these stellar works can offer."

Richard Diebenkorn, Green, 1986. Color aquatint, spit bite aquatint, soap ground aquatint, and drypoint on Somerset paper. Image: 45 x 35-3⁄8"; Sheet: 53-3⁄4 x 40-3⁄4". Fine Arts Museums of San Francisco, Crown Point Press Archive, Gift of Crown Point Press. ©The Estate of Richard Diebenkorn.

Os visitantes terão a oportunidade de ver a exposição gratuitamente todos os sábados livres do verão desde o Memorial Day (26 de maio) até o fim de semana do Dia do Trabalho (1 de setembro).

Visitors have the opportunity to view the exhibition for free every Saturday during the Corcoran’s popular Free Summer Saturdays from Memorial Day (May 26) weekend through Labor Day (September 1) weekend.

Richard Diebenkorn, Untitled, 1986. Charcoal and ink on paper, 17-5⁄8 x 37-1⁄8". The Museum of Modern Art, New York; The Denise and Andrew Saul Fund and purchase, 1988. © The Estate of Richard Diebenkorn.

Richard Diebenkorn, Ocean Park #38, 1971. Oil on canvas, 100-1⁄8 x 81". The Phillips Collection, Gift of Gifford and Joann Phillips. © The Estate of Richard Diebenkorn.

Corcoran Gallery of Art

500 17a Street NW

202-639-1700

Washington, D.C.