{"data":{"id":"2237","type":"artwork","attributes":{"id":2237,"topgoose_id":14581,"portfolio_id":null,"tms_id":2237,"title":"Ocean Park #125","display_artist_text":"Richard Diebenkorn","display_date":"1980","accession_number":"80.36","dimensions":"Overall: 100 1/16 × 81 1/8 in. (254.2 × 206.1 cm)","medium":"Oil and charcoal on canvas","department":"collection","classification":"Paintings","credit_line":"Purchase, with funds from the Charles Simon Purchase Fund, the Painting and Sculpture Committee, and anonymous donors, by exchange","is_virtual":false,"is_portfolio":false,"portfolio_tms_id":null,"portfolio":null,"edition":null,"publication_info":"","description":"\u003cp\u003eRichard Diebenkorn, \u003cem\u003eOcean Park #125\u003c/em\u003e, 1980. Oil and charcoal on canvas, overall: 100 1/16 × 81 1/8 in. (254.2 × 206.1 cm). Whitney Museum of American Art, New York; purchase, with funds from the Charles Simon Purchase Fund, the Painting and Sculpture Committee, and anonymous donors, by exchange 80.36. © Richard Diebenkorn Foundation\u003c/p\u003e","object_label":"\u003cp\u003eRichard Diebenkorn is best known for the \u003ci\u003eOcean Park\u003c/i\u003e series of landscape abstractions he began in 1967 after moving to Santa Monica, California, where he was inspired by his Ocean Park neighborhood. Numbered sequentially, the \u003ci\u003eOcean Park\u003c/i\u003e paintings are all tall, rectangular canvases, most of them divided by horizontal and vertical lines. Some seem to depict physical elements of landscape—the conjunction of ocean and sky or bands of colored clouds at sunset—while others imply more intangible elements such as space, atmosphere, or light. Diebenkorn’s primary expressive tool is always color, which he used to convey both structure and atmosphere. The monumental scale and large central field of \u003ci\u003eOcean Park #124 \u003c/i\u003eenvelop the viewer, much like the paintings of two of Diebenkorn’s early teachers, Mark Rothko and Clyfford Still. As in many \u003ci\u003eOcean Park \u003c/i\u003epaintings, vestiges of earlier compositional decisions and marks, what Diebenkorn called “crudities,” can be seen beneath washes of color. For Diebenkorn, revealing the process that yielded the finished painting was crucial to the character of the work.\u003c/p\u003e","ai_alt_text":"Large abstract painting with pale grey field and layered horizontal blue, teal, and dark bands at top.","alt_text":null,"visual_description":null,"on_view":false,"created_at":"2017-08-30T17:21:08.000-04:00","updated_at":"2026-02-06T12:01:01.573-05:00","images":[{"id":93851,"url":"https://whitneymedia.org/assets/artwork/2237/80_36_cropped.jpg"}]},"relationships":{"artists":{"data":[{"id":"356","type":"artist"}]}}}}