Untitled [seated nude examining her left foot] 1955 - 1967

Editor: Here we have Richard Diebenkorn’s "Untitled [seated nude examining her left foot]," a drawing likely created between 1955 and 1967. The use of line is so expressive; I’m immediately drawn to its apparent simplicity, yet there's a complexity in how the figure is built. What catches your eye in terms of the composition? Curator: Immediately, it is the relationship between the positive and negative space. Consider the positioning of the figure; its lines create forms, and the spaces around these forms, the absences, are equally important. Note the background sketch: how does that add another plane for visual analysis? Editor: It adds depth, almost like a reflection... the interplay becomes richer. Is Diebenkorn trying to draw our attention to the abstract qualities of the line itself? Curator: Precisely. It would be fair to read this as the line acting independently of its representational function. Note also the limited use of hatching; consider its contribution to the creation of value and texture. Does this contribute or distract? Editor: I find it helps delineate volume, making the figure less flat. So it's about seeing the figure as a series of interacting shapes and lines rather than just a representational nude. It pushes the boundaries of figuration. Curator: The figure acts more as a vehicle for a larger formal investigation; the seated figure, foot in hand, and how all its geometries can play in and around each other. Editor: Thinking about the negative spaces and hatching pushes me to view this piece not as just a nude figure but as a study in form and line, like its own alphabet to decipher the world of forms. Curator: It’s an eloquent summary; each element works together to reinforce the artwork's visual language and challenge the tradition of representational art, focusing instead on form.