Untitled [nude lying on her right side with arms behind head] by Richard Diebenkorn

Untitled [nude lying on her right side with arms behind head] 1955 - 1967

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drawing, pencil

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abstract-expressionism

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drawing

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ink drawing

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pencil sketch

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figuration

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bay-area-figurative-movement

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pencil drawing

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pencil

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nude

Dimensions overall: 35.6 x 43.2 cm (14 x 17 in.)

Editor: Okay, next up we have Richard Diebenkorn's "Untitled [nude lying on her right side with arms behind head]" created sometime between 1955 and 1967. It’s a pencil drawing, quite gestural... There's a kind of vulnerability to the pose that's striking. What’s your interpretation of this drawing? Art Historian: The reclining nude, a classic art historical trope, yes? Here, though, the vulnerability you mentioned feels… considered. The arms behind the head aren’t just casual; they almost cage her face, creating a sense of introspection. Diebenkorn wasn't merely depicting the body, he was exploring interiority. Do you notice how the angular lines create dynamic shadows across her figure? Editor: I do, now that you point it out. There’s a definite contrast between those sharper lines and the more rounded forms of her body. Does this contrast carry symbolic meaning, perhaps? Art Historian: Perhaps, on many levels. The harder edges evoke an inner strength contrasted by soft vulnerability and surrender to gravity and slumber, both archetypes, really. Note that this was executed during a key time in American art. Abstract Expressionism was king, and the figure offered many an artist a landscape ripe for psychological expression. Editor: So, the choice of subject matter—the nude—and the style – pencil – are intertwined with the cultural and artistic currents of that time? Art Historian: Precisely! The return to figuration post-war reflected a yearning for human connection and, maybe, the acceptance of fragility. That very pencil work emphasizes process. It’s a direct, unfiltered medium, laying bare the artist's hand, and, by extension, human emotions laid bare. What is the figure saying? What do you think the audience may be invited to contemplate in themselves when beholding the reclining figure? Editor: This gives me so much more to consider. I was just seeing the surface, the composition… but I need to reflect more on the feeling behind it all and its historical moment! Thanks for helping me look deeper.

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