Seated Woman 1967

Editor: Richard Diebenkorn’s "Seated Woman" from 1967, done in oil paint, is surprisingly unsettling. The figure’s lack of facial features, coupled with the muted colors, creates a very detached mood. What do you see in this piece? Curator: Immediately, the composition strikes me. Consider the planar organization: the careful juxtaposition of ochre, blue, and the emerald green of the dress. How do these blocks of color interact, creating both depth and flatness simultaneously? The impasto, while subtle, draws attention to the materiality of the paint itself. Does the brushwork itself reveal any emotional quality or underlying structure to you? Editor: I see how the brushstrokes add texture, making the surface lively. But it also feels unfinished. Like a study rather than a complete work. Is that a valid interpretation? Curator: Validity is a matter of reasoned argumentation. Let's analyze it further: the figure’s pose is rather classical, reminiscent of seated portraits, yet the abstraction renders it thoroughly modern. Do you find that the color relationships create spatial tensions or harmonies? Is the abstraction purposeful, serving to foreground certain formal qualities? Editor: The blue and green *do* play off each other well against that background. I see the tension, now that you point it out. It is like she is melting into the space around her, the heavy use of earthy tones blurring the lines... it's all about these colors, textures and shapes playing together. Curator: Precisely. By foregoing representational precision, Diebenkorn directs our focus to the fundamental elements of painting. A powerful lesson in seeing. Editor: I never would have seen all those choices on my own. Now, I have to think about those things more.