Untitled [side view of a nude female with her eyes closed] [verso] 1955 - 1967

Curator: This is an untitled drawing by Richard Diebenkorn, likely created between 1955 and 1967. It depicts a nude female figure, seen in profile. Editor: My initial impression is one of introspection and vulnerability. The closed eyes and subtle lines evoke a sense of quiet contemplation. The figure feels both present and remote. Curator: Indeed. The medium, a simple drawing, adds to the intimacy of the piece. The loose, expressive lines, so characteristic of Diebenkorn, seem to capture not just the figure's form, but also her emotional state. It has to be considered as part of his figurative work. Editor: The contrapposto stance – one arm casually on her hip, the other extended slightly – feels both classical and subtly defiant. It suggests an awareness of her own body and presence, despite the introspective mood. I wonder about the cultural reception of such images in the post-war era. Curator: That’s an astute observation. The figure seems self-possessed, yet her closed eyes point towards an inner world, a retreat from the gaze. The lack of detailed features amplifies this, allowing viewers to project their own feelings and associations. It really highlights his move from pure abstraction. Editor: I think there is this idea of a ‘universal woman,’ which obviously flattens identity a great deal. Is there any socio-political context in Diebenkorn’s style of figuration, or do you see the intention as less didactic? Curator: Diebenkorn resisted simple readings. While the figure exists, for example, the focus rests more on the exploration of form and line than on making any political statement, I would say. It feels closer to a study, an attempt to capture fleeting emotional qualities and something about our shared human condition, though perhaps one viewed through a distinct lens. Editor: So the body becomes a site for exploration. It’s interesting to consider how artists both reflect and shape societal views on nudity and representation. This could be one of the last iterations of “pure” life drawing, prefigured, as it were, by art-world iconoclasm. Curator: Perhaps. What remains remarkable is Diebenkorn’s ability to invest what appears, at first glance, to be a simple sketch with so much feeling. Editor: It has certainly prompted reflection, I will add.