Untitled [reclining female nude in high heels] 1955 - 1967

Editor: We’re looking at Richard Diebenkorn's "Untitled [reclining female nude in high heels]," created between 1955 and 1967. It’s an ink and pen drawing. The first thing that strikes me is how raw and immediate it feels; there's a beautiful tension in the bold lines, especially given the softness implied by the subject matter. What formal qualities stand out to you in this work? Curator: I’m particularly drawn to the relationship between the positive and negative spaces. Diebenkorn uses the white of the paper not merely as a background, but as an active element in the composition. Notice how the figure emerges from the void, delineated by a confident, almost aggressive, line. Editor: Aggressive is an interesting word. Can you elaborate on that? Curator: Certainly. Consider the weight and variation in the ink line itself. In certain areas, it’s thin and tentative, suggesting a fleeting observation. Elsewhere, it’s thick and bold, almost as if the artist is excavating the form from the blankness of the page. What do you observe about Diebenkorn’s use of line weight? Editor: The varying line weights really do emphasize the figure's form. I notice how the darker lines create pools of shadow. It gives the figure dimension without shading. How would you relate that back to your first point about the interplay of positive and negative space? Curator: The darker, heavier lines advance visually, creating a sense of depth and volume in contrast to the flatness of the white ground. This push and pull establishes a visual rhythm. Did this consideration of the work clarify the function of line? Editor: Yes, I now see how the line is operating formally to shape space and depth. Thanks for that perspective! Curator: A valuable perspective, indeed. Now I realize that the raw character adds another layer of value to the nude, and is a feature, not a distraction.