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Sheet Metal Snips #2,

1985, acrylic on canvas,

14” x 11”

GUEST ARTIST BIO../beckelheimer/randy-b.html

Like many artists, Guy Diehl’s foray into the world of self-expression was met with criticism rather than acclaim. As a second grader at St. Mary’s Elementary School in Pittsburgh, Pennsylvania, he was sent to The Mother Superior for drawing while he was supposed to be reading. This negative experience might have effected him more deeply were it not for the happenstance that while being led to the office, he was taken through a hall where large oil paintings of a religious nature were hung. He was so affected by their realism that he vowed, then and there, to learn to paint.

In 1974 he began work on his Masters Degree in Art at San Francisco State University. He studied with photo realist artists Richard Mclean and Robert Bechtle. He graduated with honors in 1976. In 1984, Guy began to study the Bay Area painter Gordon Cook and his exquisite, minimal still life paintings. With Gordon’s influence, Guy began painting smaller, more intimate works, which he could execute in a shorter period of time. This new found freedom allowed him to move away from the strict Photo Realism style of painting to a more flexible interpretation of what he was seeing. He began to incorporate other elements of study such as literature, music and politics and his interest in the role of the artist in society.

Beginning in 1992, Guy began to focus on the book as his primary subject matter, with references to Cubism; German Expressionism; the music of Jazz; Abstract Expressionism; and the artists of the early Modernism period from 1900 to the 1950s. His aim is to first capture the viewer’s attention with the objects themselves, then encourage the viewer’s further reflection on the work and its narrative.

Guy Diehl sees himself as an interpreter, who is making a record of his observations. These observations are intuitive, as well as responsive to images that are composed of light and shadow, as well as color, shape and form. The satisfaction with his work comes when he can make a painting as minimal as possible and still capture the fundamental nature of the subject matter. To know what to paint and what to exclude is the challenge. This distillation helps reveal the essence of a painting for him.

Guy’s current work comes from a desire to pursue and explore the legacy of still life painting. He does this through the study of art history and the physical process of painting. The classical aspect of composition and the tradition of still life, infused with his own perspective, is his primary goal. Guy’s ideas of art-about-art have become the focus of his work. It is not a new concept as artists have been borrowing from other artists throughout history. By referencing artists’ images with books and their titles they are employed to comment on or link to the objects within the painting. He makes this juxtaposition to place the familiar in a different context, combining diverse ideas to create unexpected compositions. As Guy continues this exploration, he’s challenged to take his work further both in content and subject matter. Guy sees the refinement and depth that he wants from his work grow and evolve as he moves closer to what is most important to him; to make a worthy painting that connects him with the world both past and present. 

BORN    1949   Pittsburgh, Pennsylvania, USA


1976    M.A. San Francisco State University, CA

1973    B.A. California State University Hayward, CA

1970    Diablo Valley College, Pleasant Hill, CA


Dolby Chadwick Gallery, 210 Post St., San Francisco, CA 94108

Magnolia Editions, 2527 Magnolia St., Oakland, CA 94607


2011    Dolby Chadwick Gallery, San Francisco, CA

2007    Sonoma Valley Museum of Art, Sonoma, CA

            Hackett-Freedman Gallery, San Francisco, CA

2004    Hunsaker/Schlesinger Gallery, Santa Monica, CA

2003    Hackett-Freedman Gallery, San Francisco, CA

2001    Hackett-Freedman Gallery, San Francisco, CA

1998    Hackett-Freedman Gallery, San Francisco, CA

1997    Modernism, San Francisco, CA

1995    Fletcher Gallery, Santa Fe, NM

1994    Modernism, San Francisco, CA

1993    Modernism, San Francisco, CA

1990    Jeremy Stone Gallery, San Francisco, CA

1989    University of Pacific, Stockton, CA

1988    Jeremy Stone Gallery, San Francisco, CA

            Magic Theater, Fort Mason Art Center, San Francisco, CA

1987    Hunsaker/Schlesinger Gallery, Los Angeles, CA

1986    Jeremy Stone Gallery, San Francisco, CA

            The Lurie Company, San Francisco, CA

1984    Hank Baum Gallery, San Francisco, CA

1982    Hank Baum Gallery, San Francisco, CA

1981    Shepard Art Gallery, University of Nevada, Reno, NV

1980    Hank Baum Gallery, San Francisco, CA

1979    Shasta College, Redding, CA

            Hank Baum Gallery, San Francisco, CA

1976    Los Medanos College, Pittsburg, CA

1975    San Francisco State University, CA

1971    Concord Center for the Arts, Concord, CA


2011    The Realists, ArtZone 461 Gallery, San Francisco, CA

2010    A Winter Quartet, Sullivan Goss an American Gallery, Santa Barbara, CA

            100 Grand, Sullivan Goss an American Gallery, Santa Barbara, CA

2009    Summer Exhibition - Landscape, Portraits, Still Lifes, and Sculpture,

            George Krevsky Gallery, San Francisco, CA

            Translations, Susan Street Fine Art Gallery, Solana Beach, CA

2008    Contemporary Still Life, Triton Museum of Art, Santa Clara, CA

2007    Contemporary Selections, Hackett-Freedman Gallery, San Francisco, CA

            The Art of Food, K Gallery, Alameda, CA

2006    Magnolia Editions - Woven Transcriptions, The Belgium Tapestries Designed by

            Contemporary Artists, Fresno Art Museum, CA

            Tapestries, Klaudia Marr Gallery, Santa Fe, NM

            Tapestries, Sullivan Gross, Santa Barbara & Montecito, CA

            Top of the 9th: The Art of Baseball, George Krevsky Galley, San Francisco, CA

2005    Sonoma Valley Museum of Art 2005 Biennial, Sonoma, CA

            Majestic Tapestries Of Magnolia Editions, Bedford Gallery, Dean Lesher Regional Center

            for the Arts, Walnut Creek, CA

            Tapestries by Contemporary Artists, The Judson Gallery of Contemporary and Traditional

            Art, Los Angeles, CA

            More Than a Game: The Art of Baseball, George Krevsky Galley, San Francisco, CA

            California New Old Masters, Gallery C, Hermosa Beach, CA

            Looking Back and Seeing Forward, Charles Campbell Gallery, San Francisco, CA


2005    Biennial Exhibition Award, Sonoma Valley Museum of Art, Sonoma, CA

1994    Marin Arts Council’s Individual Artists Grant, San Rafael, CA

1972    Alameda County Art Commission, Purchase Award, Fremont, CA


Alameda County Administration Building, Oakland, CA

Bank of America, San Francisco, CA

Barnes & Noble Bookstores, Inc., New York, NY

Caldwell Banker, West Palm Beach, FL

City of Phoenix, Arts Commission, Phoenix, AZ

Clark County Library, Las Vegas, NV

Fine Arts Museums of San Francisco, CA

Hallmark Card Inc., Kansas City, MO

Kaiser Permanente of California

The Mansion at MGM Grand, Las Vegas, NV

Oakland Museum, Oakland, CA

One & Only Ocean Club, Paradise Island, Bahamas

Peninsula Hotel, New York City

Princess Cruise Lines, Santa Clarita, CA

Princeton University, Princeton , NJ

Redding Museum, Redding , CA

Redwood City Library, Redwood City, CA

Ritz-Carlton, Washington, DC

Robinson’s Escondido, CA

San Francisco General Hospital, San Francisco, CA

San Jose Museum of Art, San Jose, CA

Social Security Administration, Baltimore, MD

Southern California Gas Co.

Art Bank Program, United States Department of State, Washington, DC

The Jane Voorhees Zimmerli Art Museum, Rutgers University, NJ

Walnut Creek Public Library, Walnut Creek, CA


2006 Ian Fleming’s Casino Royale (32:52 min.)

1994 Nina Takes A Lover

PRESS RELEASE../exhibitions/1110-realists-p.html



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