العودة

واين ثيبو   (1920-2021)

الفنان بيو الاستفسارحميل PDF
 
<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div>
<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div> <div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div>
بوسطن كريمات بوسطن197013 1/4 × 29 بوصة.(33.66 × 73.66 سم) طباعة حجرية ملونة
الاصل
معرض جون بيرغروين، سان فرانسيسكو
مجموعة خاصة
هيذر جيمس للفنون الجميلة

تشكّل لوحة "بوسطن كريمات بوسطن" (1970-1971) للفنان واين ثيبود جزءاً من مجموعة الفنان "سبع لوحات حياة صامتة ومنظر طبيعي فضي". وهي موقعة ومؤرخة من قبل الفنان في عام 1970، ولم تظهر المطبوعة من قبل في مزاد علني. يشتهر ثيبود، وهو شخصية محورية في الفن الأمريكي في فترة ما بعد الحرب، بتصويره المضيء للأشياء اليومية، ولا سيما الحلويات والسلع الاستهلاكية، التي تضعه في تقاطع ارتباط فن البوب بالثقافة الجماهيرية وحساسية الرسام المدين للانطباعية.





يتم تقديم صفوف من المعجنات المكسوة بالشوكولاتة في تسلسل أنيق، مردداً منطق عروض المخبوزات مع تحويل الحلويات المألوفة إلى أيقونة ثقافية. وضمن هذا التناسق الظاهر، تظهر اختلافات دقيقة في الكفاف والملمس والتظليل، مما يدعو إلى الانتباه عن كثب إلى فرادة كل شكل.





تُظهر الصورة التي تم رسمها بألوان الباستيل الزاهية التي يقابلها اللون البني الغني والأصفر والكريمي، استخدام ثيبود المميز للألوان، خاصة ظلاله المشبعة بالألوان الزرقاء والبنفسجية غير المتوقعة. تضفي هذه الاختيارات اللونية حيوية وإحساساً بالضوء على الموضوعات العادية، وترفعها إلى أشياء للتأمل.





تعكس لوحة "بوسطن كريمز" التي تتسم بالحنين والنقد في آن واحد، انخراط الفنان في الثقافة الاستهلاكية الأمريكية وتوازنه المميز بين الواقعية والأسلوبية. من خلال تحويل الحلويات المألوفة إلى رموز دائمة للحياة الأمريكية، يستحضر العمل الذاكرة بينما يتحدى الحدود بين الفن التشكيلي والصور الشعبية.
العودة
الاستفسار