Untitled [standing nude leaning on her elevated left leg] 1955 - 1967

Richard Diebenkorn made this untitled nude study with ink on paper. The dark ink outlines are so sure, so economical, and the process feels totally present. There’s a physicality to the ink itself, it’s almost sculptural where it pools and thickens. And the negative space? It's not just emptiness; it’s charged, like a conversation happening between the figure and the paper. Diebenkorn's lines have a jittery quality. See that single line defining the model’s left leg? It’s not precious or overly refined, but alive. For me, this piece speaks to the influence of Matisse, especially in the way Diebenkorn captures form with so few strokes. But Diebenkorn adds his own spin, that West Coast vibe and an openness to letting the process show. It’s a reminder that art isn’t about perfection; it’s about a visual language and a way of seeing.