Untitled [seated female nude turned sideways in armchair] 1955 - 1967

Editor: This is Richard Diebenkorn’s "Untitled [seated female nude turned sideways in armchair]", created sometime between 1955 and 1967 using ink and pencil. There's an energy to the quick, bold lines of the drawing, yet the pose feels somewhat withdrawn. What do you see in the raw construction of this work? Curator: The primacy of line is quite evident. Observe how Diebenkorn uses variations in line weight to suggest both form and shadow. There is an almost calligraphic quality, wouldn't you agree, where the starkness of the ink contrasts against the softer gradations achieved through the pencil? Consider, also, how the negative space contributes to the composition; it’s not merely the absence of form, but actively shapes our perception of the figure. Editor: That’s interesting. I hadn't focused as much on the negative space, more on how the repeated lines almost abstract the figure. It feels like he’s trying to capture a fleeting moment or an impression. Curator: Precisely. The repetition of lines underscores the inherent tension between representation and abstraction. Diebenkorn is less concerned with mimetic accuracy than with exploring the very language of drawing itself. The way he defines the form, particularly the contour of the back and shoulders, with these broken, layered marks is, I think, crucial to understanding the overall effect. Does it prompt further inquiries for you? Editor: Definitely. It's as if the act of drawing, the process itself, is more important than the final image. I’ll have to consider how the physicality of his medium contributes to its emotion. Thanks. Curator: Indeed. Thinking through the intrinsic values embedded in Diebenkorn’s orchestration of these elements provides new vantage points into his artistic investigation.