Untitled [nude with her right hand on hip and left arm resting on a support] 1955 - 1967

Curator: Richard Diebenkorn’s “Untitled [nude with her right hand on hip and left arm resting on a support],” created sometime between 1955 and 1967, is a study in charcoal, a seemingly fleeting glance captured on paper. What’s your first impression? Editor: Stark, economical. The charcoal outlines a figure with remarkable efficiency, focusing less on precise anatomical correctness and more on the suggestion of form and posture. Curator: Exactly! It’s not about perfection but capturing a certain mood, almost a vulnerability. I imagine Diebenkorn wrestling with the weight of portraying the human form. There's such raw emotion, the process is so visible. Editor: The visible process is fascinating. Look at the repeated lines, the ghost marks of adjustments. It reveals a labor of both creation and refinement—a conversation between the artist and the material. The availability and affordability of charcoal as a medium allowed artists to explore figure drawing more freely, influencing both "high" art and commercial illustration. Curator: That's a really important point—the accessibility. Diebenkorn wasn't precious with his materials. This feels almost like a private sketch, not intended for grand display. It makes you wonder what sort of environment the model was sitting in. Was it comfortable? Is she also an artist who finds freedom sitting in the nude form? It's such a window into a quiet moment. Editor: Quiet, definitely. I'm drawn to the areas where the charcoal is smudged, almost carelessly. This creates a textural complexity. And note how the paper itself becomes a participant—the drawing isn’t just *on* the page, it feels like *of* the page. Curator: Like the figure is emerging from the paper. It's ghostlike, like he's pulling this form out of thin air. You begin to notice that some lines appear harsher or bolder than other in the image. I wonder whether he may have added in ink atop the graphite sketch to bring more intention to particular segments of her body? Editor: It could certainly be the product of later interventions with other media. The use of ink would definitely serve to darken some areas of the image to allow them to appear visually different. Looking closely helps us identify this nuance in Diebenkorn's craft and style! Curator: Well, I'm lost in the process! Seeing this study, raw and unfussy, gives so much. Editor: And seeing how art is made from modest supplies is inspiring. Thank you!