One Seated and One Standing 1966

Philip Pearlstein made this ink drawing, One Seated and One Standing, with a focus on process; the simple sepia wash allows the light to define the figures through shadow and careful contouring, giving each form depth on the flat page. Up close, you can see the watery ink pooling in certain areas, creating a textural contrast between the smooth paper and the layered pigments. The quick strokes around the standing figure and the slightly blurred details suggest a sense of immediacy, almost as if he were trying to capture a fleeting moment. Take a look at the feet of the standing figure. The outlines are firm and the tonal gradations suggest shadow and weight. This kind of approach to form, combined with the use of such a limited colour range, reminds me a bit of the work of Lucian Freud, who also favored intense observation and a restrained palette. In both artists work, there's an acceptance of ambiguity and multiple interpretations. After all, aren’t we all just trying to figure it out as we go along?