Untitled [female nude kneeling on right knee] 1955 - 1967

Richard Diebenkorn made this brush and ink drawing of a kneeling nude, sometime in the 20th century, and what strikes me is its directness. The brushstrokes are so clear and economical, describing the figure with what feels like a single, decisive movement. It’s all about the process, the act of seeing and translating onto paper. The ink varies from thick, pooling blacks to delicate, translucent grays, giving the figure weight and depth, and the visible brushstrokes emphasize the physicality of the medium. I love how the artist uses the bare minimum to create a sense of volume, like the curve of her back, defined by a single, confident stroke. It’s a masterclass in reduction, in saying just enough. The layered strokes that suggest the model's far leg almost vibrate on the page, creating an illusion of depth and movement. This drawing reminds me a little of Matisse’s line drawings, but with a more anxious, searching quality. It feels like Diebenkorn is wrestling with the form, trying to capture its essence with the fewest possible marks. It’s a beautiful example of how art can embrace ambiguity, inviting us to complete the picture with our own imaginations.