untitled 1955 - 1967

Curator: This is an untitled self-portrait drawing by Richard Diebenkorn, dating from between 1955 and 1967, executed in pencil. Editor: It strikes me as quite intimate, almost hesitant in its lines. The subject, presumably Diebenkorn himself, appears rather serious, a little world-weary perhaps? The cross-hatching technique lends a softness despite the somewhat somber mood. Curator: The choice of pencil as medium is significant. It underscores the immediacy and directness of the artistic process. There's an honesty here, a lack of pretension that aligns with Diebenkorn's engagement with everyday subjects. Note, too, how he's rendered light and shadow, creating a sense of volume through subtle gradations of tone. It has that almost unfinished, modernist quality. Editor: I’m wondering how the period between 1955 and 1967—spanning significant social and political change—influenced Diebenkorn’s perspective and is communicated via this self-image. Did these years marked by civil unrest and shifting cultural paradigms lead to a more introspective or self-critical stance, captured in this understated, somewhat vulnerable, self-portrayal? He already moved from abstract expressionism during this time, this almost feels like a reflection on his own status and progression of style, a time to look inward, yes? Curator: Exactly. The lines themselves, seemingly simple, reveal a rigorous approach to form. Consider the way he’s defined the facial structure, employing just a few confident strokes to capture the essence of the subject's features. You see that restraint reflected in the limited tonal range. The entire work functions almost like a study in form and light, reflecting upon his engagement with pure formal issues and also as an object that reveals a change within artistic expression at the time. Editor: Absolutely. I agree that the careful construction is undeniable. In this way, it challenges the typical heroic presentation found in much mid-century portraiture. There’s a compelling lack of artifice, an inviting realism. Curator: Well, contemplating this work, it becomes quite compelling. Editor: Yes, definitely an example of work which gives us a perspective into its time.