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WAYNE THIEBAUD (1920-2021)

BIO DEL ARTISTA CONSULTARDESCARGAR PDF
 
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.
La casa del río2001/200518 x 35 3/4 in.(45,72 x 90,81 cm) óleo sobre lienzo
Procedencia
Jonathan Novak Contemporary Art, adquirido directamente del artista
Colección privada, adquirida a los anteriores
Exposición
Nueva York, Nueva York, Acquavella Galleries, Wayne Thiebaud, 23 de octubre-30 de noviembre de 2012 (ilustrado)
Literatura
Rubin S. G., 2007, Delicious : The Life & Art of Wayne Thiebaud, Chronicle Books, ill. pg. 1
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"Los maravillosos patrones y motivos de diseño que surgen en la agricultura me fascinan". - Wayne Thiebaud

Historia

Cuando se presentaron cuarenta paisajes rurales del Delta del Sacramento de Wayne Thiebaud en la inauguración de una galería de San Francisco en noviembre de 1997, los asistentes quedaron sorprendidos por unas pinturas que no esperaban. Esta nueva frontera no traicionaba ni la maestría de Thiebaud en los colores de pastelería ni su impecable ojo para las relaciones formales. Más bien, sus admiradores se sorprendieron al saber que todas estas cuarenta interpretaciones, excepto siete, habían sido realizadas en sólo dos años. Como recordaba su hijo Paul, "los refinamientos del proceso artístico de mi padre cambiaban constantemente en un frenesí camaleónico". La nueva dirección había resultado ser una experiencia estimulante, cada cuadro una afirmación de la apasionada respuesta de Wayne Thiebaud a los campos y diques del entorno local que amaba profundamente. 

Visto desde la perspectiva de un pájaro o un avión, The Riverhouse es un tapiz agrario concebido con una gama caleidoscópica de formas simples; campos rayados con surcos o abanicos estriados, paralelogramos y trapecios de colores delirantes, un huerto adornado con una cuña en forma de pizza y un río audazmente calado, la línea de vida de un sediento valle central de California que depende en gran medida del agua transportada.

The Riverhouse es un cuadro que se "mueve" entre planos cambiantes de cartografía aérea que recuerdan el golpe de vista de Richard Diebenkorn cuando tomó su primer vuelo comercial en la primavera de 1951, y esas particiones que adoptan una perspectiva de punto de fuga más estándar. Thiebaud explicó su proceso como "orquestar con tanta variedad y tempo como pueda". Brillantemente iluminado con una intensidad fauve, The Riverhouse es una embriagadora mezcla de pigmentos vibrantes y ricos empastes; una mezcla que recuerda su deuda con Pierre Bonnard, cuyo color Thiebaud denominó "un cubo lleno de carbones calientes y cubitos de hielo". Entre sus muchas otras influencias, la inserción de objetos -a menudo diminutos- que desafían un sentido racional de la escala refleja su interés por la pintura paisajística china.

Como siempre, su maestría como pintor recuerda a sus tartas y pasteles titulares, con sus hechizantes halos parecidos a los del arco iris y colores contiguos de igual intensidad pero con matices diferentes para crear el efecto vibratorio de un aura, lo que, según explicó Thiebaud, "denota un intento de desarrollar toda la energía y la luz y el poder visual que se pueda". Los paisajes del Delta del Sacramento de Th iebaud son una parte integral e importante de su obra. Cuadros como The Riverhouse rivalizan con el mejor arte abstracto del siglo XX. Su buen amigo, Willem de Kooning, también lo pensaba. 

Richard Diebenkorn, "Fotografía aérea, California", hacia 1962, Fundación Richard Diebenkorn

Richard Diebenkorn, "Fotografía aérea, California", hacia 1962, Fundación Richard Diebenkorn

Richard Diebenkorn, "Berkeley #44", 1955, Colección privada

Richard Diebenkorn, "Berkeley #44", 1955, Colección privada

Wayne Thiebaud, "Canales fluviales", 2003

Wayne Thiebaud, "Canales fluviales", 2003

Entre los pintores más refinados de su generación, Thiebaud era propenso a realizar constantes ajustes en sus cuadros. En 2005, el pintor volvió a comprometerse La Casa del Ríoque se había completado originalmente en 2001 porque sabía que había mucho más resplandor y efecto vibratorio que recoger. Una imagen de la primera iteración de Riverhouse de 2001 puede encontrarse como ilustración a toda página en el catálogo, Delicious: The Life & Art of Wayne Thiebaud, por S. G. Rubin. El presente ejemplo, lleno de encantador resplandor, muestra los resultados de la pintura revisada de Thiebaud.

En 2003, Riverhouse inspiró una versión más amplia titulada River Channels.

"Fui un niño mimado. Tuve una gran vida, así que lo único que puedo hacer es pintar cuadros felices". - Wayne Thiebaud

CONOCIMIENTOS DEL MERCADO

  • Wayne THIEBAUD AMR Gráfico
  • Wayne Thiebaud tiene un sólido historial de subastas y ventas, con unas 450 obras que han aparecido en subasta desde la década de 1970.
  • La tasa de crecimiento anual compuesto de Wayne Thiebaud es del 13,8% .
  • El reciente fallecimiento de Thiebaud ha sido una tragedia sentida por todo el mundo del arte. El mercado ha respondido con agresivas adquisiciones de sus óleos para destacadas colecciones de museos y coleccionistas prudentes por igual. 

Los mejores resultados en la subasta

Óleo sobre lienzo, 68 x 72 pulg. Vendido en Christie's Nueva York: 10 de julio de 2020.

"Cuatro máquinas de pinball" (1962) se vendió por 19.135.000 dólares.

Óleo sobre lienzo, 68 x 72 pulg. Vendido en Christie's Nueva York: 10 de julio de 2020.
Óleo sobre lienzo, 72 x 48 pulg. Vendido en Poly Auction Hong Kong: 12 de julio de 2022.

"Pasteles encajados" (2011) se vendió por 10.089.557 dólares.

Óleo sobre lienzo, 72 x 48 pulg. Vendido en Poly Auction Hong Kong: 12 de julio de 2022.
Acrílico sobre lienzo, 72 x 60 1/8 pulg. Vendido en Phillips Nueva York: 23 de junio de 2021.

"Winding River" (2002) se vendió por 9.809.000 dólares.

Acrílico sobre lienzo, 72 x 60 1/8 pulg. Vendido en Phillips Nueva York: 23 de junio de 2021.
Óleo sobre lienzo, 29 7/8 x 23 3/4 pulg. Vendido en Christie's Nueva York: 13 de mayo de 2021.

"Toweling Off" (1968) se vendió por 8.489.500 dólares.

Óleo sobre lienzo, 29 7/8 x 23 3/4 pulg. Vendido en Christie's Nueva York: 13 de mayo de 2021.

Cuadros comparables vendidos en subasta

Acrílico sobre lienzo, 72 x 60 1/8 pulg. Vendido en Phillips Nueva York: 23 de junio de 2021.

"Winding River" (2002) se vendió por 9.809.000 dólares.

Acrílico sobre lienzo, 72 x 60 1/8 pulg. Vendido en Phillips Nueva York: 23 de junio de 2021.
  • Pintado en la misma época en que Thiebaud creó The Riverhouse
  • Más del doble del tamaño de The Riverhouse
  • Perspectiva aérea similar
  • Vendida seis meses antes del fallecimiento de Thiebaud en diciembre de 2021
Acrílico sobre lienzo, 48 x 72 pulg. Vendido en Christie's Nueva York: 8 de noviembre de 2011.

"Delta Water" (2003) se vendió por 2.994.500 dólares.

Acrílico sobre lienzo, 48 x 72 pulg. Vendido en Christie's Nueva York: 8 de noviembre de 2011.
  • Pintado en la misma época en que Thiebaud creó The Riverhouse
  • Bastante más grande que The Riverhouse
  • Perspectiva aérea similar
  • Vendido hace más de 10 años
Óleo sobre lienzo, 36 x 72 pulg. Vendido en Christie's Nueva York: 12 de noviembre de 2013.

"River Channels" (2003) se vendió por 2.405.000 dólares.

Óleo sobre lienzo, 36 x 72 pulg. Vendido en Christie's Nueva York: 12 de noviembre de 2013.
  • Pintado dos años después de que The Riverhouse fuera terminado por primera vez
  • La composición del enfoque de Thiebaud para pintar el Canal del Río fue directamente influenciada por su pintura de The River house
  • Perspectiva aérea similar

Pinturas en colecciones de museos

"Flatland River" (1997), óleo sobre lienzo, 38 x 58 pulg.

Museo de Arte Moderno de San Francisco

"Flatland River" (1997), óleo sobre lienzo, 38 x 58 pulg.
"Levee Farms" (1998), óleo sobre lienzo, 48 x 48 pulg.

Museo Smithsonian de Arte Americano, Washington, D.C.

"Levee Farms" (1998), óleo sobre lienzo, 48 x 48 pulg.
"Estanques y arroyos" (2001), acrílico sobre lienzo, 72 x 60 pulg.

Museos de Bellas Artes de San Francisco

"Estanques y arroyos" (2001), acrílico sobre lienzo, 72 x 60 pulg.
"Intersección de ríos" (2010), óleo sobre lienzo, 48 x 36 pulg.

Museo de Arte Crocker, Sacramento, California

"Intersección de ríos" (2010), óleo sobre lienzo, 48 x 36 pulg.
"No me interesan sólo los aspectos pictóricos del paisaje -ver un lugar bonito y tratar de pintarlo-, sino de alguna manera manejarlo, manipularlo o ver en qué puedo convertirlo". - Wayne Thiebaud

Galería de imágenes

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Recursos adicionales

Vea otros ejemplos de las pinturas del "Delta del Sacramento" de Thiebaud expuestas en la retrospectiva de 2001 de la obra de Thiebaud en el Whitney.

Retrospectiva del Museo Whitney

Vea otros ejemplos de las pinturas del "Delta del Sacramento" de Thiebaud expuestas en la retrospectiva de 2001 de la obra de Thiebaud en el Whitney.
Vea y escuche a Wayne Thiebaud compartir el impacto formativo que "La feria de los caballos" (1852-55) de Rosa Bonheur tuvo en él cuando era un niño.

El "Proyecto Artista" del Met

Vea y escuche a Wayne Thiebaud compartir el impacto formativo que "La feria de los caballos" (1852-55) de Rosa Bonheur tuvo en él cuando era un niño.
Lauren Palmor, conservadora adjunta de arte americano en el Museo de Young de San Francisco, escribe sobre las pinturas de paisajes de Thiebaud.

Estanques y arroyos de Wayne Thiebaud

Lauren Palmor, conservadora adjunta de arte americano en el Museo de Young de San Francisco, escribe sobre las pinturas de paisajes de Thiebaud.
La conservadora principal del Smithsonian American Art Museum, Virginia Mecklenburg, habla del lugar que ocupa Thiebaud como "uno de los gigantes de nuestra generación de artistas".

Revista Smithsonian

La conservadora principal del Smithsonian American Art Museum, Virginia Mecklenburg, habla del lugar que ocupa Thiebaud como "uno de los gigantes de nuestra generación de artistas".
El Director Asociado y Conservador Jefe del Museo de Arte Crocker le lleva a través de la exposición de 2020 del museo "Wayne Thiebaud 100".

Wayne Thiebaud 100

El Director Asociado y Conservador Jefe del Museo de Arte Crocker le lleva a través de la exposición de 2020 del museo "Wayne Thiebaud 100".

Preguntar

Consulta - Arte individual

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