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04/06/93

CONTACT: Stanford University News Service (415) 723-2558

Stanford to honor Diebenkorn with exhibits

STANFORD -- The Stanford University Museum of Art will honor the late artist and Stanford alumnus Richard Diebenkorn, who died March 30, by featuring his painting Window, 1967 in the Art Gallery from April 13 through May 2.

Window, the gift of the artist, his wife and anonymous donors in 1969, is a symbol of the family's long-standing association with Stanford, said Thomas Seligman, museum director.

"The Stanford community is saddened by the loss of one of America's most important artists," Seligman said. "In their ongoing spirit of generosity to Stanford, the Diebenkorn family has requested all memorial gifts be directed to the Stanford University Museum of Art to help rebuild the museum. We are deeply touched by their generosity."

A second exhibition in the Art Gallery from July 13 through Sept. 19, "Richard Diebenkorn - Stanford Remembers" will include paintings, prints and drawings by Diebenkorn from collections of the Stanford community.

Diebenkorn studied art at Stanford in the early 1940s with Daniel Mendelowitz, and received his bachelor's degree in art in 1949. In 1943, he married fellow Stanford student Phyllis Gilman.

Diebenkorn, who spent most of his life in California, returned to Stanford in 1963-64 as artist-in-residence.

Diebenkorn "occupied a unique place as a modern American master," said Hilarie Faberman, Robert M. and Ruth L. Halperin curator of modern and contemporary art at the Stanford Museum. "The critical acclaim accorded his work brought to international attention the creativity of Bay Area painting and printmaking, and solidified the position of northern California in the history of post-World War II American art."

Throughout his long and successful career, Diebenkorn "worked against prevailing trends, turning to figurative painting in the 1950s when abstract art was at its apogee and returning to abstraction in the 1960s when figuration was popular," Faberman said. "His paintings, bathed in the limpid light that characterized his style, also became synonymous with the art of California."

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