Untitled [female model standing in the studio and looking down] 1955 - 1967

Editor: So here we have Richard Diebenkorn’s *Untitled [female model standing in the studio and looking down]*, likely created sometime between 1955 and 1967. It’s an ink drawing, and what strikes me is the incredible economy of line – he captures so much with what appears to be so little. How do you approach this piece? Curator: Formally, one might observe the dynamism achieved through stark contrast. The white of the paper, the negative space, is just as crucial as the modulated blacks of the ink. Consider the sweeping gestures. Note the lines which establish a clear, confident foundation for the model's form while dissolving into almost pure abstraction at the periphery. This tension between definition and dissolution activates the entire composition. What do you make of the figure's downcast gaze, combined with this dynamic abstraction? Editor: I suppose it adds a layer of melancholy, but I hadn’t really considered how the abstraction contributes. I was so focused on the figure. So, is it the interplay between these defined and undefined spaces that gives the piece its power? Curator: Precisely. Diebenkorn harnesses the expressive potential of ink wash. Its fluidity allows for subtle gradations in tone, creating depth and volume. The subject is secondary; the arrangement of values dictates how successful the piece becomes. Editor: So it’s less about *who* is depicted and more about *how* they are depicted. It feels so spontaneous but also incredibly deliberate at the same time. Curator: Indeed, that perceived spontaneity is a hallmark of Abstract Expressionism. Diebenkorn makes it work, transforming what could easily be mere process into something quite substantive. The artist uses swift and assertive mark making combined with the power of absence to arrive at something compelling. Editor: I see it now; thank you. I came into this just seeing a figure drawing, but I'm leaving with a far richer understanding of Abstract Expressionist portraiture, where the surface matters as much as the subject. Curator: Excellent. Paying close attention to form is paramount.