Untitled [close-up view of reclining nude] [verso] 1955 - 1967

Richard Diebenkorn made this untitled drawing of a reclining nude using what looks like ink on paper. It's all about the gesture, the quickness of the hand, and how a few marks can suggest so much. I'm drawn to the way the heavy, dark strokes contrast with the delicate, almost ethereal lines. Look at the central mass, how the ink bleeds and pools, creating depth and shadow. Then notice the thin, wiry lines that dance around it, suggesting form without defining it. It’s as if Diebenkorn is inviting us to complete the picture, to feel the weight and space of the figure with our own imagination. The background feels activated by these sweeping marks, as though the figure is radiating energy outwards. This reminds me of Cy Twombly's drawings, the way he used line to capture movement and emotion. Both artists understood that sometimes what's left unsaid is just as important as what's explicitly shown. Art is a conversation, an exploration, and this piece is a beautiful example of that.