Untitled [seated woman grasping with her right hand] 1955 - 1967

Editor: This is an intriguing sketch by Richard Diebenkorn, simply titled "Untitled [seated woman grasping with her right hand]". It seems to be made with ink on paper, and was likely created sometime between 1955 and 1967. It feels incredibly raw and immediate. What stands out to you, looking at it formally? Curator: What I immediately observe is the dynamism achieved through line. The density and layering, particularly around the face and hands, create a palpable sense of energy. Notice how the hatching isn't merely descriptive, but textural. What affect does it have on your experience? Editor: It makes me feel a little uneasy, like the woman is caught in a moment of intense thought or anxiety. The lines are so restless. But I’m curious, what do you make of the areas where the lines almost dissolve, becoming much lighter and sparser? Curator: Precisely! The strategic deployment of line weight is masterful. Observe the economy of line used to delineate the body and the dress. It's a reduction to pure form. The artist isn’t attempting to depict realism; instead he explores form through calligraphic gestures, and emphasizes spatial depth in some areas more than others. Editor: So, it’s more about the artist's exploration of form than a portrait of an individual? Curator: To me, the subject is less important than the visual language deployed to realize it. The lines don’t just describe; they *perform*. They embody the very act of seeing, of sketching, of distilling experience into its most elemental components. Editor: I see! It's about the *process* of drawing itself. Looking at the areas of concentrated linework versus the spareness really clarifies that point for me. Thanks! Curator: Indeed, paying attention to formal relations gives us an immediate and enduring appreciation. I'm glad you see that, too!