Untitled [female nude lying flat on back] 1955 - 1967

Editor: Here we have Richard Diebenkorn’s "Untitled [female nude lying flat on back]," a pencil drawing created sometime between 1955 and 1967. It feels very immediate and intimate, like a fleeting impression. How do you interpret this work, considering its formal elements? Curator: The efficiency of the line is striking, wouldn't you agree? Notice how the swift, almost gestural quality of the pencil strokes defines the figure. The work avoids explicit detail, instead relying on a careful arrangement of lines to suggest volume and form. We might say the lines articulate negative space in relation to form. Editor: I see what you mean. It’s less about realistic depiction and more about capturing the essence of the reclining figure through a deliberate, almost minimalist approach. Are there specific structural relationships that stand out to you? Curator: Consider the contrast between the curvilinear forms of the figure and the straight line that defines the ground, for instance. This tension enhances the sense of depth, while also flattening the picture plane. The sketch also presents a dynamic interplay of loose and tight rendering which contributes to the vitality of the sketch. Editor: That's a fascinating observation. It highlights the delicate balance between representation and abstraction. Would you say Diebenkorn is more concerned with the abstract shapes than the human form itself? Curator: The human form acts as a starting point, a structural framework. Diebenkorn manipulates the visual elements to emphasize the aesthetic properties of the image rather than achieving pure mimesis. Through the deliberate deployment of line, shadow, and form, the human body emerges as abstract. The line work in itself almost seems to flatten the form, which emphasizes two dimensionality. Editor: This exploration has given me a new appreciation for how an artist can prioritize formal qualities to create an entirely new experience of the human body. Curator: Indeed, this work exemplifies how art can engage us through its intrinsic visual language, offering a complex interplay between form and content, ultimately challenging our perception and enriching our aesthetic understanding.