Miró. Matisse and Miró, as well as Pablo Picasso, Paul Klee, Wassily Kandinsky, and Piet Mondrian directly influenced the abstract expressionists, the color field painters of post-painterly abstraction and the lyrical abstractionists. Late 19th-century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the abstract expressionists, the color field painters, and the lyrical abstractionists. Matisse paintings French Window at Collioure, and View of Notre-Dame both from 1914 exerted tremendous influence on American color field painters in general, (including Robert Motherwell's Open Series), and on Richard Diebenkorn's Ocean Park paintings specifically. According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, and they had an enormous impact on him and his work. Jane Livingston says about the January 1966 Matisse exhibition that Diebenkorn saw in Los Angeles: It is difficult not to ascribe enormous weight to this experience for the direction his work took from that time on. Two pictures he saw there reverberate in almost every Ocean Park canvas. View of Notre Dame and French Window at Collioure, both painted in 1914, were on view for the first time in the US. Livingston goes on to say "Diebenkorn must have experienced French Window at Collioure, as an epiphany." Miró was one of the most influential artists of the 20th century. He pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery. Arshile Gorky openly admired Miró's work and painted Miró-like paintings, before finally discovering his own originality in the early 1940s. During the 1960s Miró painted large (abstract expressionist scale) radiant fields of vigorously brushed paint in blue, in white, and other monochromatic fields of colors; with blurry black orbs and calligraphic stone-like shapes, floating at random. These works resembled the color field paintings of the younger generation. Biographer Jacques Dupin said this about Miró's work of the early 1960s: These canvases disclose affinities – Miró does not in the least attempt to deny this – with the researches of a new generation of painters. Many of these, Jackson Pollock for one, have acknowledged their debt to Miró. Miró in