Untitled [front view of a female nude seated on a stool] [recto] 1955 - 1967

Editor: Here we have an ink drawing by Richard Diebenkorn, made sometime between 1955 and 1967, titled *Untitled [front view of a female nude seated on a stool] [recto]*. It’s quite striking in its simplicity, almost ghostly. What do you see in this piece? Curator: I observe a primacy given to form over detail. Diebenkorn articulates the figure using stark contrasts, relying on the tonal variations of the ink to define the contours. Note how the negative space is as active as the figure itself, creating a dynamic tension within the composition. Are you struck by how little explicit information is provided? Editor: I am! It's barely representational, and yet I know what I’m looking at. What does this tell us about Diebenkorn’s approach? Curator: Diebenkorn engages with the essential elements of representation. He seeks to understand the underlying structure of the figure and capture its essence through line and tone, eschewing superfluous detail. The lack of shading in the background is especially noteworthy. Does this affect the interplay between figure and space? Editor: It flattens the image. Instead of a realistic figure in space, it’s more about the *idea* of a figure, existing as a series of shapes and tonal values on the page. Curator: Precisely. Consider the starkness of the medium and how it contributes to the raw, almost primal quality of the work. Are there aspects of semiotics or structuralism you would say reflect the values here? Editor: I’m struck by how the simplicity and limited shading draw attention to Diebenkorn's confidence with line. He conveys the figure without being literal. Thanks so much. Curator: It also encourages a greater sense of viewer projection onto the composition. I’ve appreciated your perspectives today as well.