Untitled [female nude seated on a draped stool and leaning forward] 1955 - 1967

Editor: This is an untitled graphite drawing of a female nude by Richard Diebenkorn, created sometime between 1955 and 1967. It's very gestural, almost frantic in its mark-making. I'm struck by how the figure seems both vulnerable and powerful. What historical context informs how we might understand this piece? Curator: Well, the mid-20th century saw a shifting landscape in the representation of women in art. This wasn't just about capturing an image, but about grappling with societal expectations of femininity. Diebenkorn, primarily known for his abstract expressionist and figurative works, operated within an environment where the male gaze still heavily influenced artistic representation. Does the drawing challenge or reinforce this gaze? What feelings about women's bodies, the way women's bodies are seen, is suggested here? Editor: That’s a great point. The model's downward gaze and somewhat slumped posture do evoke a sense of passivity, which could be interpreted as reinforcing traditional views. But the intensity of the drawing itself, the almost violent hatching, seems to suggest a more complex interiority, maybe resisting that passivity? Curator: Exactly. And the historical presence and function of drawing is something to be considered here. Is it simply a study? Or something more? By using graphite and focusing on the nude, Diebenkorn situates himself within a long art historical tradition while simultaneously challenging its inherent power dynamics. The hurried lines almost feel rebellious against conventional academic drawing. To that point, where and when drawings such as this one are exhibited is another way we can understand and interpret this drawing. Who is the intended audience, then and now? Editor: That makes me see it differently. The deliberate roughness does disrupt any easy objectification, pushing us to consider the sitter as a person, rather than just an idealized form. I see how situating it within the history of nude art changes its meaning. Curator: And it demonstrates how understanding that socio-political landscape truly deepens our encounter with the work. What museums include in their collections, and then the narrative told around each piece, has a large impact on society. Editor: I hadn’t thought about it that way. It’s really opened my eyes to the complexities within what seems like a simple sketch. Curator: Absolutely. Thinking about its journey and who sees it now—and the lens through which we are interpreting it now—changes the work and enriches the entire art encounter.