Untitled [seated woman with legs crossed] 1955 - 1967

Curator: So, this ink drawing by Richard Diebenkorn, aptly titled "Untitled [seated woman with legs crossed]," was made sometime between 1955 and 1967. Editor: Oh, it has such a casual, languid vibe. You know, the kind of scene that feels almost intrusive to witness, like a stolen glance. Curator: I think that speaks to Diebenkorn's process, right? He’s capturing these very personal, domestic spaces. It’s realistic, yes, but with a raw immediacy thanks to the ink and simple pen work. The quick lines feel incredibly honest. Editor: Honest is a great word for it. It’s the unpretentious detail, like how he renders the woven texture of the chair and then leaves parts of it undefined, or how he gives prominence to the adjacent lamp almost as a co-protagonist within this captured interior. It all feels wonderfully unpolished. Does that make sense? Curator: Absolutely. And that aesthetic really played into the broader artistic trends of the time. The post-war art world saw many artists like Diebenkorn pushing back against strict academic traditions in favor of a more personal, expressive style. This focus on everyday subjects made art feel much more accessible, democratic, perhaps even reflecting the changing roles of women in society during that era. Editor: The social dimension always adds another layer, doesn’t it? To me, she embodies that introspective mood that followed the post-war optimism and even touches a certain “Baudelairean” modern isolation that comes from being a citizen in the city. She's self-contained. Look how even her toes seem restless. Curator: They're practically vibrating! I find that incredibly poignant. The simple line work here says so much. Editor: Right? There’s beauty in seeing these lines that suggest so much without trying too hard, it leaves something to our imagination. Well, thank you Diebenkorn for letting us peep in on that moment, because who knows the kind of thoughts this anonymous sitter must have been ruminating on that afternoon.