Untitled [female nude with hand in lap and raised left arm] 1955 - 1967

Editor: This is an untitled pen and ink drawing of a female nude by Richard Diebenkorn, made sometime between 1955 and 1967. The lines are so spare, almost gestural. I'm struck by how vulnerable the figure appears. What catches your eye? Curator: Formally speaking, the reduction to essential lines is key. Observe the economy of means, the calligraphic quality of the pen strokes. The blank space of the paper is as crucial as the marks themselves, defining the figure through absence as much as presence. Note the varying pressure of the pen, creating a sense of depth and volume despite the overall flatness. Do you notice how the hatching on the left leg provides a visual anchor? Editor: Yes, that heavier line work really grounds the figure. It's almost abstract in places, wouldn't you agree? Curator: Indeed. While representational, the work verges on abstraction. Consider how Diebenkorn uses line to define form, but also to disrupt it. The lines don't always neatly connect, creating a sense of fragmentation. It emphasizes the inherent tension between representation and abstraction that’s central to Diebenkorn's artistic project. Editor: It's like he's deconstructing the figure in real time. I hadn't considered the negative space as being so important to the composition. Curator: Precisely. This drawing is less about anatomical accuracy and more about exploring the potential of line, the interplay of positive and negative space. And remember the influence of Eastern calligraphy which prioritized brushstroke and negative space as the subject matter. Editor: I'm definitely seeing that now. Thanks, this has given me a fresh perspective on how to read Diebenkorn’s work. Curator: A focused reading reveals an exercise in pure visuality, unburdened by extraneous narratives.