Art Card: Richard Diebenkorn -Girl With Flowered Background, 1962 (Hand Signed by Richard Diebenkorn), 1994

Art Card: Richard Diebenkorn -Girl With Flowered Background, 1962 (Hand Signed by Richard Diebenkorn), 1994

Offset lithograph postcard (hand signed by Richard Diebenkorn)

This offset lithograph postcard is hand signed in blue ink by Richard Diebenkorn.
A scarce collectible when hand signed, especially as signed artist cards from this era were not commonplace - especially not by Diebenkorn.
This postcard depicts the oil on canvas painting entitled"Girl With Flowered Background" done in 1962. It was first exhibited in 1964 at the Gallery of Modern Art, Washington, D.C. which hosted a major show of Diebenkorn's representational paintings. It was later exhibited in 1989 by Knoedler Gallery in New York City, and acquired in 1992 by the Modern Art Museum of Fort Worth, Museum, purchased via the Sid W. Richardson Foundation Endowment Fund
This card is elegantly float framed with a white painted wood museum frame under UV plexiglass.
Measurements:
Framed:
12 inches (vertical) by 10.25 inches (horizontal) by 2 inches
Artwork:
7 inches (vertical) by 5 inches (horizontal)

RICHARD DIEBENKORN BIOGRAPHY
In the late 1940s and early 50s, Richard Diebenkorn emerged as one of the few successful abstract painters in the United States outside of New York City. Living in Berkeley, California, he developed a unique and respected form of abstract expressionism at a time when the style was gaining ascendancy. In 1955, he unexpectedly switched back to representational painting, a style for which, like his abstract expressionist work, he would eventually gain recognition.

This representational style would interest Diebenkorn until 1966, when he moved to Santa Monica, California. There, he would begin the famous Ocean Park series, which edified his status as a major artist. The works are not strictly abstract or representational but are usually seen as trafficking between the two concepts. On one hand, a viewer can sense the light, color, and even organization of the Santa Monica environment in which Diebenkorn painted the series. On the other hand, the sensations remain abstract and never directly reference a particular landscape.

A monumental painting more than eight feet high, Ocean Park #90, 1976, exemplifies Diebenkorn’s highly recognized work. The painting deftly employs many of the features of the series, large washes of pale color interspersed with angular splits—sometimes considered light through a window, sometimes beach architecture, and sometimes streets. Ocean Park #90, however, is slightly more somber than many other works in the series, pushing blue into a slate gray and daylight into a palette found during a sunset of red and yellow, an evening light.