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WAYNE THIEBAUD (1920-2021)

 
When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too. When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.
Das Flusshaus2001/200518 x 35 3/4 Zoll.(45,72 x 90,81 cm) Öl auf Leinwand
Provenienz
Jonathan Novak Contemporary Art, direkt vom Künstler erworben
Privatsammlung, erworben von den oben genannten Personen
Ausstellung
New York, New York, Acquavella Galleries, Wayne Thiebaud, 23. Oktober - 30. November 2012 (illustriert)
Literaturhinweise
Rubin S. G., 2007, Delicious : The Life & Art of Wayne Thiebaud, Chronicle Books, Abb. S. 1
Fragen Sie

"Die wunderbaren Muster und Designmotive, die in der Landwirtschaft auftauchen, faszinieren mich. - Wayne Thiebaud

Geschichte

Als im November 1997 vierzig ländliche Landschaften des Sacramento-Deltas von Wayne Thiebaud bei einer Galerieeröffnung in San Francisco vorgestellt wurden, waren die Besucher von Gemälden überrascht, mit denen sie nicht gerechnet hatten. Dieses Neuland verriet weder Thiebauds Beherrschung der Farben aus der Konditorei noch sein tadelloses Auge für formale Beziehungen. Vielmehr waren seine Bewunderer schockiert, als sie erfuhren, dass alle bis auf sieben dieser vierzig Interpretationen in nur zwei Jahren fertig gestellt worden waren. Wie sich sein Sohn Paul erinnerte, "änderten sich die Verfeinerungen des künstlerischen Prozesses meines Vaters ständig in einer chamäleonartigen Raserei". Die neue Richtung hatte sich als berauschende Erfahrung erwiesen, jedes Gemälde war eine Bestätigung von Wayne Thiebauds leidenschaftlicher Reaktion auf die Felder und Dämme der lokalen Umgebung, die er so sehr liebte. 

Aus der Vogel- oder Flugzeugperspektive betrachtet, ist The Riverhouse ein agrarischer Wandteppich mit einer kaleidoskopischen Vielfalt an Formen und einfachen Gestalten: Felder mit Furchen oder gestreiften Fächern, farbenprächtige Parallelogramme und Trapeze, ein Obstgarten, der mit einem pizzaförmigen Keil garniert ist, und ein kühn gezeichneter Fluss, die Lebensader eines durstigen kalifornischen Zentraltals, das weitgehend vom Wassertransport abhängig ist.

The Riverhouse ist ein Gemälde, das sich zwischen nahtlos ineinander übergehenden Ebenen einer Luftaufnahme "bewegt", die an Richard Diebenkorns Einsicht erinnert, als er im Frühjahr 1951 seinen ersten kommerziellen Flug unternahm, und jenen Partitionen, die eine eher standardmäßige Fluchtpunktperspektive einnehmen. Thiebaud erklärte seinen Prozess als "Orchestrierung mit so viel Abwechslung und Tempo, wie ich kann". Das hell erleuchtete, fauvistisch anmutende The Riverhouse ist ein berauschendes Gebräu aus leuchtenden Pigmenten und reichem Impasto, das an seine Vorliebe für Pierre Bonnard erinnert, dessen Farbe Thiebaud als "einen Eimer voller heißer Kohlen und Eiswürfel" bezeichnete. Zu seinen vielen anderen Einflüssen gehört das Einfügen von - oft winzigen - Objekten, die sich einem rationalen Maßstabssinn entziehen und sein Interesse an der chinesischen Landschaftsmalerei widerspiegeln.

Wie immer erinnert seine Meisterschaft als Maler an die titelgebenden Torten und Kuchen mit ihren bezaubernden regenbogenartigen Lichthöfen und nebeneinander liegenden Farben von gleicher Intensität, die sich jedoch in den Farbtönen unterscheiden, um den vibrierenden Effekt einer Aura zu erzeugen, was, wie Thiebaud erklärte, "den Versuch bezeichnet, so viel Energie und Licht und visuelle Kraft wie möglich zu entwickeln." Thiebauds Landschaften des Sacramento-Deltas sind ein integraler und wichtiger Bestandteil seines Oeuvres. Gemälde wie The Riverhouse können es mit der besten abstrakten Kunst des zwanzigsten Jahrhunderts aufnehmen. Auch sein guter Freund Willem de Kooning war dieser Meinung. 

Er zählt zu den raffiniertesten Malern seiner Generation, Thiebaud neigte dazu, seine Gemälde ständig zu überarbeiten. Im Jahr 2005 hat sich der Maler erneut mit Das Flusshausdie ursprünglich im Jahr 2001 fertig gestellt worden war, weil er wusste, dass noch viel mehr Ausstrahlung und Schwingungseffekte zu erzielen waren. Ein Bild der ersten Iteration von Flusshaus aus dem Jahr 2001 ist als ganzseitige Illustration im Katalog zu finden, Köstlich: Das Leben und die Kunst von Wayne Thiebaud, von S. G. Rubin. Das vorliegende Exemplar voller schöner Ausstrahlung zeigt die Ergebnisse von Thiebauds überarbeiteter Malerei.

Im Jahr 2003 inspirierte Riverhouse eine größere Version mit dem Titel River Channels.

"Ich war ein verwöhntes Kind. Ich hatte ein großartiges Leben, also ist das Einzige, was ich tun kann, glückliche Bilder zu malen." - Wayne Thiebaud

MARKTEINBLICKE

  • Wayne THIEBAUD AMR Grafik
  • Wayne Thiebaud kann auf eine solide Auktions- und Verkaufsgeschichte zurückblicken: Seit den 1970er Jahren wurden rund 450 Werke auf Auktionen angeboten.
  • Für Wayne Thiebaud ergibt sich eine durchschnittliche jährliche Wachstumsrate von 13,8 % .
  • Der kürzliche Tod Thiebauds war eine Tragödie für die gesamte Kunstwelt. Der Markt reagierte mit aggressiven Ankäufen seiner Ölgemälde für bedeutende Museumssammlungen und umsichtige Sammler gleichermaßen. 

Spitzenergebnisse bei Auktionen

Öl auf Leinwand, 68 x 72 cm. Verkauft bei Christie's New York: 10. Juli 2020.

"Four Pinball Machines" (1962) wurde für 19.135.000 $ verkauft.

Öl auf Leinwand, 68 x 72 cm. Verkauft bei Christie's New York: 10. Juli 2020.
Öl auf Leinwand, 72 x 48 Zoll. Verkauft bei Poly Auction Hong Kong: 12. Juli 2022.

"Encased Cakes" (2011) wurde für 10.089.557 $ verkauft.

Öl auf Leinwand, 72 x 48 Zoll. Verkauft bei Poly Auction Hong Kong: 12. Juli 2022.
Acryl auf Leinwand, 72 x 60 1/8 Zoll. Verkauft bei Phillips New York: 23. Juni 2021.

"Winding River" (2002) wurde für 9.809.000 $ verkauft.

Acryl auf Leinwand, 72 x 60 1/8 Zoll. Verkauft bei Phillips New York: 23. Juni 2021.
Öl auf Leinwand, 29 7/8 x 23 3/4 Zoll. Verkauft bei Christie's New York: 13. Mai 2021.

"Toweling Off" (1968) wurde für 8.489.500 Dollar verkauft.

Öl auf Leinwand, 29 7/8 x 23 3/4 Zoll. Verkauft bei Christie's New York: 13. Mai 2021.

Vergleichbare Gemälde bei einer Auktion verkauft

Acryl auf Leinwand, 72 x 60 1/8 Zoll. Verkauft bei Phillips New York: 23. Juni 2021.

"Winding River" (2002) wurde für 9.809.000 $ verkauft.

Acryl auf Leinwand, 72 x 60 1/8 Zoll. Verkauft bei Phillips New York: 23. Juni 2021.
  • Entstanden etwa zur gleichen Zeit, als Thiebaud The Riverhouse schuf
  • Mehr als doppelt so groß wie das Riverhouse
  • Ähnliche Luftperspektive
  • Verkauft sechs Monate vor Thiebauds Tod im Dezember 2021
Acryl auf Leinwand, 48 x 72 cm. Verkauft bei Christie's New York: 8. November 2011.

"Delta Water" (2003) wurde für 2.994.500 $ verkauft.

Acryl auf Leinwand, 48 x 72 cm. Verkauft bei Christie's New York: 8. November 2011.
  • Entstanden etwa zur gleichen Zeit, als Thiebaud The Riverhouse schuf
  • Deutlich größer als das Riverhouse
  • Ähnliche Luftperspektive
  • Verkauft vor mehr als 10 Jahren
Öl auf Leinwand, 36 x 72 cm. Verkauft bei Christie's New York: 12. November 2013.

"River Channels" (2003) wurde für 2.405.000 $ verkauft.

Öl auf Leinwand, 36 x 72 cm. Verkauft bei Christie's New York: 12. November 2013.
  • Zwei Jahre nach der Fertigstellung von The Riverhouse gemalt
  • Zweimal so groß wie The Riverhouse, wurde die Komposition von Thiebauds Herangehensweise an das Malen des River Channel direkt von seinem Gemälde The Riverhouse beeinflusst
  • Ähnliche Luftperspektive

Gemälde in Museumssammlungen

Museum für Moderne Kunst in San Francisco

"Flatland River" (1997), Öl auf Leinwand, 38 x 58 Zoll.

Smithsonian American Art Museum, Washington, D.C.

"Levee Farms" (1998), Öl auf Leinwand, 48 x 48 Zoll.

Kunstmuseen von San Franscisco

"Teiche und Bäche" (2001), Acryl auf Leinwand, 72 x 60 cm.

Das Crocker Kunstmuseum, Sacramento, Kalifornien

"Flusskreuzung" (2010), Öl auf Leinwand, 48 x 36 Zoll.
"Ich bin nicht nur an den malerischen Aspekten der Landschaft interessiert - ich sehe einen schönen Ort und versuche, ihn zu malen -, sondern daran, ihn irgendwie zu verwalten, zu manipulieren oder zu sehen, was ich aus ihm machen kann." - Wayne Thiebaud

Bild-Galerie

Zusätzliche Ressourcen

Whitney Museum Retrospektive

Weitere Beispiele von Thiebauds "Sacramento Delta"-Gemälden sind in der Retrospektive von Thiebaud im Whitney 2001 ausgestellt.

Das "Künstlerprojekt" der Met

Wayne Thiebaud erzählt, welchen prägenden Einfluss Rosa Bonheurs "The Horse Fair" (1852-55) auf ihn als kleines Kind hatte.

Wayne Thiebauds Teiche und Bäche

Lauren Palmor, die stellvertretende Kuratorin für amerikanische Kunst am de Young Museum in San Francisco, schreibt über Thiebauds Landschaftsgemälde.

Smithsonian Zeitschrift

Die leitende Kuratorin des Smithsonian American Art Museum, Virginia Mecklenburg, spricht über Thiebauds Stellung als "einer der Giganten unserer Künstlergeneration".

Wayne Thiebaud 100

Der stellvertretende Direktor und Chefkurator des Crocker Art Museum führt Sie durch die Ausstellung "Wayne Thiebaud 100", die 2020 im Museum zu sehen sein wird.

Fragen Sie

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