Berkeley No. 54
Giclée / Art Print
Museum-quality giclée or canvas print with fast production and flexible finish options. ( Buy Hand Made Painting
Buy Image)
Pick from our preset sizes that match the artwork's original proportions.
You may enter your own dimensions to fit a specific frame or space. If your selected size does not match the original image's proportions, we will either crop the artwork or extend the image with a mirrored or solid-fill edge. A digital mockup will be sent for your approval before production begins.
Please note that the on-screen preview does not reflect the actual cropping or extension. Only the mockup will accurately show the final composition.
While custom sizes are available, we recommend selecting a dimension from the predefined list to preserve the original proportions.
Worldwide Delivery () in 2 weeks instead of standard 4/5 weeks. (4 September)
Free Worldwide Express Shipping
High-Quality Linen Canvas
Full Shipping Insurance
Customs Tax Refund Guarantee
True Color Matching Guarantee
60-Day Return Policy (Defects Only)
100% Money-Back Guarantee
Bulk Discount Offer
Berkeley No. 54
Giclée / Art Print
Reproduction Size
-
Total Price
$ 63
A Dynamic Coastal Vision: Richard Diebenkorn's "Berkeley No. 54"
Richard Diebenkorn’s “Berkeley No. 54,” a captivating work from his renowned Ocean Park series, offers a vibrant and abstracted interpretation of the California coastline. Painted in an unknown year, this piece exemplifies the artist’s shift towards lyrical abstraction following his earlier explorations of Bay Area Figurative art. The painting isn't a literal depiction; instead, it captures the *feeling* of the coastal landscape—the energy of the ocean, the warmth of the sun, and the subtle shifts in light and atmosphere—through a dynamic interplay of color and form. It’s a testament to Diebenkorn’s ability to distill complex natural phenomena into pure visual experience.Abstract Expressionism & The Ocean Park Series
"Berkeley No. 54" firmly resides within the realm of Abstract Expressionism, specifically showcasing elements characteristic of Diebenkorn's later "Ocean Park" series (1967-1983). This period marked a significant evolution in his artistic practice. Inspired by the rugged beauty of the Santa Monica coastline near his studio in Pacific Palisades, these paintings move away from recognizable imagery and instead focus on exploring color relationships, spatial dynamics, and the expressive potential of paint itself. The series is notable for its geometric forms interwoven with more fluid, gestural brushstrokes—a duality that creates a compelling visual tension. Diebenkorn’s work during this time was influenced by European abstract art movements like Cubism and Constructivism, but he infused it with a distinctly Californian sensibility – a lightness and luminosity absent in many of his European counterparts.Color, Composition & Technique
The painting's composition is striking. A roughly square canvas is divided into distinct zones—a vibrant upper section dominated by yellows and purples contrasting with the softer pinks, beiges, blues, and greens below. Diagonal lines cut across the surface, generating a sense of movement and visual energy. Diebenkorn’s technique is characterized by thick, impasto layers of oil paint applied with both deliberate brushstrokes and more spontaneous gestures. This creates a rich textural quality that invites close inspection. The layering of colors—often translucent—allows earlier hues to peek through, adding depth and complexity. Notice how the artist uses contrasting warm (yellows, pinks) and cool (blues, greens) tones to create visual interest and dynamism. There's no traditional perspective; instead, Diebenkorn utilizes overlapping planes of color to suggest spatial relationships without resorting to realistic representation.Emotional Resonance & Symbolic Interpretation
"Berkeley No. 54" evokes a powerful emotional response through its vibrant colors and dynamic composition. The painting isn't about depicting a specific scene, but rather conveying a feeling—a sense of awe at the natural world, perhaps, or the exhilaration of being by the ocean. While abstract, the work subtly alludes to elements of the coastal landscape: hints of hills, water, and sky emerge from the swirling colors. The abstraction allows for multiple interpretations; viewers are invited to engage with the painting on a personal level, projecting their own emotions and experiences onto its surface. It’s a testament to Diebenkorn's skill that he could create such an evocative work without relying on representational imagery—a piece that resonates deeply even in its abstract form.Related Artworks
Artist Biography
Early Life and Artistic Foundations
Richard Diebenkorn, born in Portland, Oregon, in 1922, embarked on a journey that would establish him as one of the most significant American painters of the postwar era. His family’s relocation to San Francisco when he was just two years old proved formative, imbuing his artistic sensibility with the light and atmosphere of California—a landscape that would become inextricably linked to his work. Even in childhood, a profound inclination towards drawing manifested itself, signaling an early dedication to visual expression. This innate passion led him to Stanford University in 1940, where he encountered pivotal mentors like Victor Arnautoff, who instilled a rigorous classical discipline with oil paint, and Daniel Mendelowitz, who shared his admiration for the evocative realism of Edward Hopper. Hopper’s influence is readily apparent in Diebenkorn's early paintings, characterized by a quiet introspection and a masterful handling of light and shadow. These formative years laid the groundwork for a career defined by both technical skill and emotional depth.Navigating Abstraction and Figuration
The landscape of American art underwent a dramatic shift in the wake of World War II, with the center of artistic innovation moving from Paris to New York. Diebenkorn keenly felt this change, enrolling at the California School of Fine Arts (now the San Francisco Art Institute) and embracing abstract expressionism as his primary mode of self-expression. He found inspiration in the work of artists like Clyfford Still, Arshile Gorky, Hassel Smith, and Willem de Kooning, absorbing their bold experimentation with form and color. However, Diebenkorn was not content to simply follow established trends. Alongside Elmer Bischoff, Henry Villierme, David Park, and James Weeks, he became a leading figure in the Bay Area Figurative Movement—a conscious return to representational painting after the dominance of abstract expressionism. This transition wasn’t abrupt; it was a gradual process of reintroducing recognizable forms into his work, blending abstraction's emotional intensity with figuration’s narrative potential. He sought to bridge the gap between inner experience and external reality, creating paintings that were both deeply personal and universally resonant.The Ocean Park Series: A Defining Achievement
In 1967, Diebenkorn embarked on a series of paintings that would come to define his career—the *Ocean Park* series. Named after the Santa Monica neighborhood where he lived and worked, these geometric, lyrical abstract paintings represent a culmination of his artistic explorations. Unlike the gestural spontaneity of abstract expressionism or the direct representation of Bay Area Figurative work, the *Ocean Park* paintings are characterized by a carefully considered composition, subtle color palettes, and a sense of serene order. These weren’t depictions of Ocean Park itself, but rather distillations of its light, space, and atmosphere—evocations of place through abstract form. He explored printmaking alongside his painting, beginning with drypoint in 1961 at UCLA, and forging a long-lasting collaboration with Kathan Brown at Crown Point Press from 1965 to 1992, producing numerous prints that further expanded his artistic vocabulary. The *Ocean Park* series garnered widespread critical acclaim, establishing Diebenkorn as a major force in contemporary art.Legacy and Lasting Influence
Richard Diebenkorn’s influence on postwar American art is undeniable. His ability to synthesize abstract expressionism, lyrical abstraction, and figurative painting created a unique artistic voice that resonated with artists for generations. A significant retrospective at the Pasadena Art Museum in 1960—later shown at the California Palace of the Legion of Honor in San Francisco—cemented his reputation as a leading figure in the art world. He didn’t adhere to any single dogma, instead forging his own path by embracing experimentation and following his artistic intuition. His work continues to inspire artists and collectors alike, celebrated for its beauty, complexity, and emotional depth. Diebenkorn's passing in 1993 marked the end of a remarkable career, but his legacy lives on through the enduring power of his paintings—a testament to his innovative spirit and unwavering commitment to artistic vision. His work remains a poignant reminder of the transformative potential of art.Richard Diebenkorn
1922 - 1993 , United States of America
Quick Facts
- Artistic Movement Or Style:
- Abstract Expressionism
- Bay Area Figurative
- Lyrical Abstraction
- Artists Or Movements Influenced By This Artist: ['Postwar American art']
- Artists Who Influenced This Artist:
- Edward Hopper
- Clyfford Still
- Arshile Gorky
- Date Of Birth: April 22, 1922
- Date Of Death: 1993
- Full Name: Richard Diebenkorn
- Nationality: American
- Notable Artworks:
- A Day at the Races
- Ocean Park No. 32
- Chabot Valley
- Place Of Birth: Portland, USA


Glass option is only available in size under 110 CM
