Paper

Student Artwork Guide

Berkeley No. 22

Name Class Date

Richard Diebenkorn, Berkeley No. 22 (1954). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Richard Diebenkorn originaluniqueart.com/en/artists/richard-diebenkorn/
Artist’s dates
1922 – 1993
Painted
1954
Original size
150 x 145 cm

In context

Berkeley No. 22 — Richard Diebenkorn

How big is it?

The original measures 150 × 145 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 71 at death.

Painted when the artist was 32. The artist lived to 71. 0 of the 19 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Richard Diebenkorn (1922–1993) ▲ this work, 1954 every dated painting, decade by decade

First works: up to 1957 Main working years: 1957–1972 Late works: from 1972

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Berkeley No. 57, 1955 originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-57-8XYUEC-en/
  • Ocean Park #27, 1970 originaluniqueart.com/en/art/richard-diebenkorn-ocean-park-27-D376U7-en/
  • Berkeley No. 59 originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-59-8XYUEE-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/richard-diebenkorn-berkeley-no-22-AR2H2J-en/

Colours

Measured from the image

    Main colour

    Quinacridone Magenta #846744

    Catalogued palette

    • #846744
    • #747374
    • #3E4B5C
    • #A49D92

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Quinacridone Magenta
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Richard Diebenkorn over the last twelve months — 9 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Singapore 36.1%2,600 visits
    2. 2 China 25.0%1,800 visits
    3. 3 United States of America 25.0%1,800 visits
    4. 4 Japan 6.9%500 visits
    5. 5 Austria 1.4%100 visits
    6. 6 Chile 1.4%100 visits
    7. 7 Germany 1.4%100 visits
    8. 8 Spain 1.4%100 visits
    9. 9 Indonesia 1.4%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Richard Diebenkorn

    1. 1 Ocean Park #54, 1972 16.3%1,400 visits
    2. 2 Ocean Park No. 21 8.1%700 visits
    3. 3 Ocean Park No. 131 8.1%700 visits
    4. 4 Woman at Table in Strong Light 5.8%500 visits
    5. 5 Ocean Park No. 7 4.7%400 visits
    6. 6 Ocean Park #49, 1972 4.7%400 visits
    7. 7 Tomato and Knife 3.5%300 visits
    8. 8 Ocean Park No. 27, 1970 3.5%300 visits
    9. 9 Ocean Park 3.5%300 visits
    10. 10 Still Life with Orange Peel 3.5%300 visits
    11. 11 Scissors and Lemon 3.5%300 visits
    12. 12 Ocean Park No. 32 2.3%200 visits
    13. 13 Man and Woman in a Large Room 2.3%200 visits
    14. 14 Berkeley 2.3%200 visits
    15. 15 Chabot Valley 2.3%200 visits
    16. 16 Berkeley No. 20 2.3%200 visits
    17. 17 Interior with View of Buildings, 1962 1.2%100 visits
    18. 18 Berkeley No. 22, 1954 this painting 1.2%100 visits
    19. 19 Large Still Life 1.2%100 visits
    20. 20 Berkeley No. 32 1.2%100 visits

    Together these works take 81.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 104 works by this artist, of which 36 were looked at at least once. This painting ranks 18 of them, with 1.2% of that attention (100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Richard Diebenkorn

    Born in Portland, United States of America

    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.

    Where to read more

    • The artist Richard Diebenkorn originaluniqueart.com/en/artists/richard-diebenkorn/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/richard-diebenkorn-berkeley-no-22-AR2H2J-en/

    Find this online

    QR code linking to the download page for Berkeley No. 22

    originaluniqueart.com/en/art/download/richard-diebenkorn-berkeley-no-22-AR2H2J-en/

    Cite this artwork

    MLA
    Diebenkorn, Richard. Berkeley No. 22. 1954, https://originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-22-AR2H2J-en/
    APA
    Diebenkorn, Richard (1954). Berkeley No. 22 [Painting]. https://originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-22-AR2H2J-en/
    Chicago
    Richard Diebenkorn. Berkeley No. 22. 1954. https://originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-22-AR2H2J-en/
    Harvard
    Diebenkorn, Richard (1954) Berkeley No. 22. Available at: https://originaluniqueart.com/en/art/richard-diebenkorn-berkeley-no-22-AR2H2J-en/

    Look closely

    Berkeley No. 22 — Richard Diebenkorn

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Berkeley No. 57 (1955), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Richard Diebenkorn was about 32 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Why is the copyright status of "Berkeley No. 22" what it is?

    "Berkeley No. 22" by Richard Diebenkorn is still protected by copyright. Copyright terms are measured from the artist's death, and Richard Diebenkorn died in 1993.

    Toward which tone does "Berkeley No. 22" lean?

    A golden yellow range hue runs through "Berkeley No. 22" by Richard Diebenkorn.

    Can I see "Berkeley No. 22" by Richard Diebenkorn on my own wall before buying?

    "Berkeley No. 22" has an augmented reality preview: the artwork's AR Preview page shows it in your own space on a compatible device.