470:, about the prospect of branching out into wallpaper and textile design. In addition to her success as a designer and weaver, Liebes was also a savvy businesswoman. After reviewing his sketches and color samples, she invited him to showcase his work that fall to her East Coast buyers at New York City's Gotham Hotel. For the next two months, he worked on developing a design portfolio for the showcase, which Liebes would later brand “The New California Look.” The success of this showcase enabled him to forge a new path in textile and wallpaper design, securing contracts with leading U.S. manufacturers, such as Scalamandré Silks, Schumacher & Co., Kent-Bragaline, Katzenbach and Warren, and Morley-Fletcher. Some of his more popular designs for textiles and wallpapers included Asian-inspired motives of cherry, pine and ming trees, Southwestern pueblos, Over-sized oak leaves printed on Peruvian linen and scenes of Americana. In particular, Dietrich's oak leaf design on Peruvian linen received national attention through exhibitions at the Metropolitan Museum of Art, Museum of Modern Art and the Art Institute of Chicago, among others. Upon his return from New York, he rented a storefront on West 3rd Street in
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Rodman, who sought to capitalize on
Dietrich's artistry through a collaborative venture. In the mid-1950s, Rodman proposed a plan whereby the artist would create the designs for serigraphs and monitor production of them, while Rodman, operating under the auspices of the Van Amstel Company, would produce, market and distribute them. Over the next 25 years, Dietrich made regular visits to Van Amstel's Culver City factory, where he supervised production of his limited-edition serigraphs, which were then sold through department stores across the country, such as Broadway, Bullock's, Gimbels, Macy's, Marshall Field & Co. and others. Dietrich's association with Rodman and Van Amstel proved to be a successful partnership that provided him with the financial grounding to pursue his lifelong ambition to become a fine artist.
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Oregon, where he commuted every day to the Kaiser
Shipyards in Vancouver. By winter, he had received an offer to transfer to the shipyards in Richmond, enabling him to return to the Bay Area. As a Swedish citizen, Dietrich had initially come to the US on a student visa and had looked into the possibility of applying for American citizenship. However, once the US entered the war, his becoming a citizen was contingent upon his going to war, which he refused to do. Alternately, he was advised by the Swedish Consulate that he could obtain an exemption based on his Swedish citizenship, and re-apply after the war ended. However, as he learned at the war's conclusion, it would not be possible to do so until many years to come, when he finally became an American citizen at the age of 80.
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was
Natalie Nicolaief Vally (1899-1988), a freelance photographer from Russia. They married in 1942 and had a daughter. His second wife was Mai-Britt Cedeby (1920-1980), a film and television script supervisor from Sweden. They married in 1950 and had two sons. His third wife was Reneé Gold Zutrau (1927-1976), a fashion designer, illustrator, costume supervisor, and artist from West Caldwell, New Jersey. She was a single mother with a son at the time they met. They married in 1959 and had two sons together. His fourth wife was Patty Gilbert Hurst (1936- ), a loan processor from Beverly Hills, who was a single mother with a daughter at the time they met. They married in 1967 and had just celebrated their 36th wedding anniversary the day before he died in 2003.
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opening weekend in June 1963, including decorators, interior designers, architects, art collectors, society people and celebrities, and the general public. The vernissage marked his formal introduction into
Southern California's art colony, and was a prelude to a host of exhibitions throughout California and in various cities across America, as well as in galleries in Sydney, Toronto, El Salvador, Hong Kong and Stockholm. In 1993, he moved to La Quinta, California, where he continued to show and paint until the late 1990s.
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California Valley as a young man and was bedazzled by a field of flowers. He noted that his fascination with light and color, long preserved in his dreams, emerged in a binding theme and permeated his creative endeavors. Seeking to translate these wonders of nature to his oils on canvas, he discovered that spatial depth could only be attained through the luminosity of the color and the graduation of light, achieved by a wet-on-wet technique that prevented any individual pigment from dominating the composition.
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be expressed on the canvas, whether running wild, racing across a finish line or entangled in a polo match. Other subjects included children, lovers, matadors, mother and child tableaus, musicians, nudes, cityscapes, landscapes, townscapes, waterfronts and sailboats. Over the course of his fine art career, flora fantasies and horses would be recurring themes of his work.
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1959, he acquired a studio residence in the Los
Angeles suburb of Pacific Palisades, and in 1961, he was commissioned to paint a large-scale mural for the new Union Federal Bank headquarters in downtown Los Angeles. This was followed by another mural commission for the Prudential Life Insurance Company.
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Dietrich participated in sports both recreationally and competitively over the course of his lifetime, including soccer, tennis, skiing and body surfing. He was married four times and had five children by his first three marriages and two stepchildren by his third and fourth marriages. His first wife
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started at
Dietrich Studios, where he began experimenting with design and production. Soon, he was producing pairs and trios of prints unified by theme and palette that he marketed as “decorative paintings” to complement his wallpaper and textile designs. In 1949, he met a German framer named Werner
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in
Vancouver, Washington, contacted him about applying his drafting skills to aid in war production. Similar to what he had done at 20th Century-Fox, he was tasked with creating axonometric drawings from architectural blueprints to aid in ship construction. In late spring 1942, he moved to Portland,
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Dietrich's artistic training emanated from a variety of informal and formal activities. At an early age, he was said to be captivated by the foreboding nature of the pine forest behind his home, with its vast and mysterious understory. These tangible elements stimulated his curiosity and imagination
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Dietrich's study of human anatomy found its ultimate expression in a series of quasi-life-size sports paintings depicting football, baseball, soccer and tennis players, track-and-field athletes, and surfers. He was also captivated by horses and the ways in which their physicality and movement could
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In
February 1938, Dietrich arrived in the US and began attending classes at the American Academy of Art. Although he had been persuaded by its director to study commercial art, not long after entering the program, he began skipping classes to immerse himself in the galleries of the Art Institute of
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Two years later, he partnered with real estate scion, developer and interior designer, William
Tishman, to present an exhibition of his impressionist works at a house Tishman had built on spec in Beverly Hills. The event, billed as “The Vernissage of ‘Dietrich’”, attracted over 2,000 people on its
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By the mid-1950s, Dietrich's goal of becoming a fine artist had been overshadowed by the constant demand to produce textile, wallpaper and serigraph designs. Frustrated by a lack of progress, he resolved to rededicate himself to his childhood dream through independent study and experimentation. In
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In some instances, he worked from photos provided by his patrons to incorporate the faces of their children into these settings. In the realm of figural representation, he took inspiration from Käthe
Kollwitz for her transcendent works reflecting human passion and Grandma Moses for her ability to
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which he would copy in order to become more fluid in his free hand drawing. Between 1933 and 1935, he enrolled in commercial art classes at Welamson's Art School in Stockholm, which led to his first professional job at Herson's Agency, an advertising firm that had just opened in the city. Between
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articles include: Mary Roche, "New Ideas and Inventions", June 8, 1947, SM38; "Muted Colors Inspired by Earth and Plants Characterize Collection of New Wallpapers", August 1, 1947, 14; Mary Roche, "New Weaves Made in Drapery Fabric", September 15. 1947, 14; "Designer Provides 'Outdoors' in Home:
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technique, characterized by thick layers of paint showing the texture of brush strokes or a palette knife. Color would continue to play a significant role in his work and he also cited the influence of Pierre Bonnard for his “nuanced color arrangements” and Henri Matisse for his “original use of
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Dietrich would often employ fantasy imagery within a variety of natural settings as a way of breathing life into his work. Describing these flora fantasies as “leaps of imagination”, his imagery took the form of solitary nudes, lovers, musicians, sprites, animals, or any combination thereof set
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Beyond the Old Masters and early Modernists, two experiences left a deep impression on him: one, when as a child sitting in his mother's lap, he looked out the window and witnessed the early morning sky flaring up in a brilliant cascade of light, and the other, when he arrived in the Central
560:. He began experimenting with this technique by scouring and glazing the dark colors to extract the light from the canvas. He also cited the figures and landscapes of Leonardo, Michelangelo, Raphael and Dürer as being fundamental to his exploration and treatment of this subject matter.
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within two years of moving there. Even after overcoming these afflictions, a train accident at the age of 20 shattered his right knee, leaving him nearly incapacitated and questioning his future. In the aftermath of his surgery, he recalled an ad he had seen in the back pages of the
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A studio-wide strike between 1945 and 1946 compelled Dietrich to venture beyond the art departments of Hollywood and explore new ways of making a living. Heeding the suggestion of costume designer, Edith Head, he contacted San Francisco-based textile designer and weaver,
164:(December 22, 1916 – May 21, 2003) was a Swedish-American artist and designer, whose prolific and diverse works encompassed oils on canvas, oils on paper, serigraphs, commercial illustrations, portraits, etchings, drawings, and scenic, textile, and wallpaper designs.
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and the family moved to Helsingborg. Over the course of the next 10 years, his missionary work entailed travel to the United States, Mexico, Canada and other countries, while Elisabeth stayed at home to raise their children.
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between 1947 and 1951, where he was alternately referred to as "Dietrich", "Dietrich of California" and "William Dietrich" (aka "Bill Dietrich", a first name that he adopted in the early 1950s). Select
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prompting him to study the forest's plant life. From there, an early interest in figurative drawing led him to explore anatomy, bolstered by books his father had given him containing drawings of the
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This list was compiled from, and cross-referenced with, lists created by Dietrich Grunewald, exhibition brochures and newspaper articles, all on file with the Dietrich Family Estate, New York
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1935 and 1937, he created concepts for ad campaigns and produced renderings of the finished artwork for Herson's, while also working freelance as an illustrator for magazine publishers.
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Dietrich was also influenced by the works of Caravaggio, Murillo and Rembrandt, whose strength lay in their ability to master light and emphasize the enigmatic qualities of shadow, or
347:. In the months following the performance, he stayed in San Francisco and resumed a course of independent art study by regular visits to the library, taking night classes in
394:. His next assignment was at Paramount Pictures where he worked under the supervision of acclaimed production designer William Cameron Menzies to create the storyboards for
219:, to “find himself a bride.” After a brief courtship, the couple married in 1911 and subsequently raised their family in Oskarström. In 1929, Eduard retired to become a
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The Grunewalds, with Eduard and Elisabeth (center) and their five children (left to right): Annmarie, Dietrich, Kalle, Helmut and Gottfried, Helsingborg, Sweden, 1928
1750:"Details from the Life of the Bonhoeffer Family: New Insights about the Biography and Theology of Dietrich Bonhoeffer in the Memoirs of his Youngest Sister Susanne"
1405:"Details from the Life of the Bonhoeffer Family: New Insights about the Biography and Theology of Dietrich Bonhoeffer in the Memoirs of his Youngest Sister Susanne"
1588:'Landscape' Colors Are Used by Dietrich in Home for Wallpaper and Matching Fabrics", June 26, 1950, 17; and "Drapery Fabrics Stress Unusual", August 21, 1951, 23.
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during the day. Also during this time, he began producing a series of etchings documenting the city's street life. In 1938, he met a Danish conductor named
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A study of Dietrich's early paintings from the late 1930s and early 1940s reflects his attraction to Van Gogh's bold use of color and the
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who invited him to design the sets for a one-night production he was to be conducting of the Danish national music-drama,
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Chicago. Before the semester had ended, he had decided to leave Chicago and head west in pursue a career as an artist.
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In 1944, he was hired by Samuel Goldwyn Productions in Hollywood to create the storyboards for the Danny Kaye musical
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Rites of Spring showing Dietrich's incorporation of fantasy imagery into a flowerscape, 1960, oil on canvas, 30x36
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and resolved to chart a new course by moving to America to pursue his childhood dream of becoming a fine artist.
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Ancestry.com. California, U.S., Marriage Index, 1949-1959 . Provo, UT, USA: Ancestry.com Operations, Inc., 2013.
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Dietrich Studios publicity photo showing the designer surrounded by his textile and wallpapers designs, ca.1950
407:"Perspective View, Forward Deckhouse Erection Section" axonometric drawing, Kaiser Co., Inc., Richmond CA, 1942
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San Francisco panorama showing Dietrich's application of the impasto technique, ca.1940, oil on canvas, 24x20
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The Marble Players showing Dietrich's experimentation with chiaroscuro, 1958, oil on canvas, 43x49
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1609:, 320; Examples of Dietrich Studios' wallpaper design can be found at the Cooper Hewitt at:
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1707:, January 29, 1981, SB2 (South Bay Edition) and February 1, 1981, WS11 (West Side Edition).
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Kienholz, Lyn, ed. (Elizabeta Betinski and Corinne Nelson, contributing eds.) “Dietrich.”
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in 1907 to work as an engineer at a textile factory. He met Elisabeth after traveling to
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180:. His father, Eduard Gottfried Grunewald (1873-1943), was born in Nicaragua to a German
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Artists’ Monograms and Indiscernible Signatures: An International Dictionary, 1800-1991
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color, an intuitive control of space and innovative sense of spatial exploration”.
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Yvette Cabrera, "Enlisting in America's Ranks; 10,000 Take Oath in Lagging Year",
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Alan Drooz, "Near Life-Size Tableaus: Artist Captures Sports Drama on Canvas",
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Dietrich's work as a textile and wallpaper designer was covered extensively by
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within idyllic settings that included flowerscapes, fields, meadows or forests.
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and his wife, while his mother, Elisabeth Feldmann (1882-1975), was born in
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Dietrich studio residence, Pacific Palisades, CA (showings by appointment)
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After moving to Helsingborg with his family in 1929, he was stricken with
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Dietrich Vernissage at the William Tishman Home, Beverly Hills, June 1963
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320:. Dietrich accepted Lautrup's offer and soon found himself relocating to
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on June 18, 1939. On the night of the performance, he met heldentenor,
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1841:. Los Angeles: The California/International Arts Foundation, 2010.
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Monteverdi-Young showroom, Los Angeles/West Hollywood, CA (G)
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Juliet P. Schoen, "Dietrich Touch Can Change Dark to Light",
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Gregg Juarez Galleries, Los Angeles, CA and Palm Beach, FL
1822:. Metuchen, N.J. /London: The Scarecrow Press, Inc., 1991.
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to a German salesman and cigar manufacturer and his wife.
1834:. Metuchen, N.J./London: The Scarecrow Press, Inc., 1990.
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1354:. Vol. II. Malmö: Allhems Förlag. pp. 319–320.
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Svenskt Konstnärs Lexikon (Swedish Artists Directory)
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Daniel Koshland Residence, San Francisco, California
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Vollmer, H. (K.G. Saur, ed.) “Grunewald, Dietrich.”
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European Artists Signatures and Monograms, 1800-1991
890:Blue Lagoon Villas, Laguna Beach, Beverly hills,CA
1089:Zantman Art Galleries, Palm Desert and Carmel, CA
1039:Zantman Art Galleries, Palm Desert and Carmel, CA
199:Elisabeth Feldmann studied voice and piano at the
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992:Dietrich studio residence, Pacific Palisades, CA
494:Serigraph produced by the Van Amstel Co., ca.1965
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1003:Alexis Art Gallery, San Salvador, El Salvador
926:Ted Phillips residence, Huntington Harbor, CA
427:at Samuel Goldwyn Productions, Hollywood, 1944
1852:). Vol. 4. München/ Leipzig: K.G. Saur, 2000.
411:Following America's entry into World War II,
292:Dietrich at the easel, San Francisco, ca.1940
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1199:American Embassy, El Salvador, San Salvador
640:Skyview, San Francisco, oil on canvas, 26x31
754:E = exhibitions G = gallery representation
724:"The End of the Race", oil on canvas, 70x51
948:Axel Danielson residence, Los Angeles, CA
588:convey the purity of childlike innocence.
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1221:Zantman Art Galleries, Palm Desert, CA
1144:Zantman Art Galleries, Palm Desert, CA
616:Seine View, Paris, oil on canvas, 36x42
172:Dietrich Hermann Grunewald was born in
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1839:L.A. Rising: SoCal Artists Before 1980
1818:Castagno, John “Grunewald, Dietrich.”
1393:(La Quinta, CA: UNPUBLISHED, 1997), 6.
1254:Margaret Sjodin residence, Malibu, CA
747:Exhibitions and gallery representation
652:Tropical Fantasy, oil on canvas, 32x30
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1287:Bengtsson Gallery, Stockholm, Sweden
1133:Bengtsson Gallery, Stockholm, Sweden
915:Blue Lagoon Villas, Laguna Beach, CA
777:Courvoisier Galleries, San Francisco
712:Goal Line Stand, oil on canvas, 78x42
700:Day of the Hunt, oil on canvas, 36x57
676:Billowing Sails, oil on canvas, 39x48
664:Enchanted Forest, oil on paper, 22x30
628:Waterfront scene, oil on paper, 26x40
378:and was hired for production work at
1391:Dietrich: Memoirs of My Life and Art
1122:Lyon Art Gallery, San Francisco, CA
318:Golden Gate International Exposition
1111:Sunbird Art Gallery, Los Altos, CA
1100:Danica showroom, Beverly Hills, CA
688:Desert Sunset, oil on canvas, 36x48
423:Dietrich creating a storyboard for
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1900:American people of Swedish descent
1725:"Obituaries: Dietrich Grunewald",
1504:“In Danish: Drama Wins Applause,”
1188:Zantman Art Galleries, Carmel, CA
1166:Tatum Gallery, Ft. Lauderdale, FL
1155:Tatum Gallery, Ft. Lauderdale, FL
314:“Elverhøj” (aka “The Elves’ Hill”)
269:American Academy of Art in Chicago
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498:Dietrich's introduction to
440:The Princess and the Pirate
425:The Princess and the Pirate
35:Dietrich Grunewald, ca.1967
16:American artist (1916–2003)
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1798:"Berner's Auction Gallery"
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370:Truckfarmers etching, 1940
306:Los Angeles Public Library
284:Scenic design and drafting
158:Dietrich Hermann Grunewald
1869:Dietrich Herman Grunewald
1607:Svenskt Konstnärs Lexikon
1527:Svenskt Konstnärs Lexikon
1061:La Cañada Flintridge, CA
981:DeVeaux Gallery, Carmel,
799:Modern Museum of Art, NY
391:Springtime in the Rockies
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1850:The Artists of the World
1767:10.1177/0040573620916732
1422:10.1177/0040573620916732
1050:Asia Gallery, Hong Kong
822:Art Institute of Chicago
380:20th Century-Fox Studios
374:In 1940, he returned to
333:War Memorial Opera House
1830:“Grunewald, Dietrich.”
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453:Textiles and wallpapers
397:For Whom the Bell Tolls
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904:Gallery, Nice, France
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1871:at Wikimedia Commons
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835:Various U.S. cities
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302:downtown Los Angeles
201:Dresden Conservatory
1508:, June 19, 1939, 3.
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528:Style and technique
221:Moravian missionary
209:textile engineering
182:Moravian missionary
1729:, May 27, 2003, B2
1580:The New York Times
1372:. 22 December 1916
1243:Laguna Niguel, CA
959:San Francisco, CA
846:Sydney, Australia
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1495:Clairmont, 16-17.
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217:Hernhutt, Germany
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72:May 21, 2003
1890:2003 deaths
1885:1916 births
1760:(1): 9–32.
1658:Schoen, 17.
1649:Schoen, 17.
1640:Schoen, 17.
1631:Schoen, 13.
1473:Schoen, 13.
1464:Schoen, 13.
1415:(1): 9–32.
1028:, Glendale
558:chiaroscuro
376:Los Angeles
238:Old Masters
205:bookbinding
92:Occupations
1879:Categories
1802:Invaluable
1376:2022-12-24
1337:legacy.com
1306:1993-2003
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168:Early life
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68:2003-05-21
47:1916-12-22
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766:Location
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148:designing
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112:1935–1998
357:Bay Area
353:drypoint
329:Elverhøj
162:Dietrich
145:Painting
123:textiles
101:designer
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1813:Sources
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349:etching
298:Chicago
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279:Career
186:London
98:Artist
78:, U.S.
1780:S2CID
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