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WAYNE THIEBAUD (1920-2021)

BIO DE L'ARTISTE ENQUÊTETÉLÉCHARGER LE 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 maison du fleuve2001/200518 x 35 3/4 in.(45,72 x 90,81 cm) huile sur toile
Provenance
Jonathan Novak Contemporary Art, acquis directement auprès de l'artiste.
Collection privée, acquise auprès de l'artiste
Exposition
New York, New York, Acquavella Galleries, Wayne Thiebaud, 23 octobre-30 novembre 2012 (illustré)
Littérature
Rubin S. G., 2007, Delicious : The Life & Art of Wayne Thiebaud, Chronicle Books, ill. pg. 1
Précédent
demander

"Les merveilleux motifs et dessins qui apparaissent dans l'agriculture me fascinent." - Wayne Thiebaud

Histoire

Lorsque quarante paysages ruraux du delta du Sacramento réalisés par Wayne Thiebaud ont été dévoilés lors de l'inauguration d'une galerie à San Francisco en novembre 1997, les participants ont été surpris par des peintures auxquelles ils ne s'attendaient pas. Cette nouvelle frontière ne trahissait ni la maîtrise des couleurs de confiserie de Thiebaud ni son œil impeccable pour les relations formelles. Au contraire, ses admirateurs ont été choqués d'apprendre que toutes ces quarante interprétations, sauf sept, avaient été réalisées en deux ans seulement. Comme le rappelle son fils Paul, "les raffinements du processus artistique de mon père évoluaient sans cesse dans une frénésie caméléon". Cette nouvelle orientation s'est avérée être une expérience exaltante, chaque tableau étant une affirmation de la réponse passionnée de Wayne Thiebaud aux champs et aux digues de l'environnement local qu'il aimait tant. 

Vu du point de vue d'un oiseau ou d'un avion, The Riverhouse est une tapisserie agraire conçue avec une gamme kaléidoscopique de formes simples : des champs rayés de sillons ou d'éventails striés, des parallélogrammes et des trapézoïdes aux couleurs délirantes, un verger garni d'un coin en forme de pizza, et une rivière aux contours audacieux, ligne de vie d'une vallée centrale californienne assoiffée et largement dépendante de l'eau transportée.

The Riverhouse est un tableau qui "se déplace" entre des plans de cartographie aérienne qui se déplacent de façon transparente et qui rappellent le coup de génie de Richard Diebenkorn lorsqu'il a pris son premier vol commercial au printemps 1951, et ces partitions qui adoptent une perspective à point de fuite plus standard. Thiebaud explique que son processus consiste à "orchestrer avec autant de variété et de tempo que possible". Lumineux, d'une intensité proche du fauve, The Riverhouse est une concoction capiteuse de pigments vibrants et de riches empâtements, qui rappelle sa dette envers Pierre Bonnard, dont Thiebaud qualifiait la couleur de "seau rempli de charbons ardents et de glaçons". Parmi ses nombreuses autres influences, l'insertion d'objets - souvent minuscules - qui défient un sens rationnel de l'échelle reflète son intérêt pour la peinture de paysage chinoise.

Comme toujours, sa maîtrise de peintre rappelle ses tartes et ses gâteaux intitulés, avec leurs halos envoûtants semblables à des arcs-en-ciel et leurs couleurs juxtaposées d'intensité égale mais dont les teintes diffèrent pour créer l'effet vibratoire d'une aura, ce qui, selon Thiebaud, "dénote une tentative de développer autant d'énergie, de lumière et de puissance visuelle que possible." Les paysages du delta du Sacramento de Thiebaud font partie intégrante et importante de son œuvre. Des tableaux tels que The Riverhouse rivalisent avec les meilleures œuvres d'art abstrait du XXe siècle. Son grand ami, Willem de Kooning, le pensait aussi. 

Richard Diebenkorn, "Aerial photograph, California", vers 1962, Fondation Richard Diebenkorn.

Richard Diebenkorn, "Aerial photograph, California", vers 1962, Fondation Richard Diebenkorn.

Richard Diebenkorn, "Berkeley #44", 1955, Collection privée

Richard Diebenkorn, "Berkeley #44", 1955, Collection privée

Wayne Thiebaud, "River Channels", 2003

Wayne Thiebaud, "River Channels", 2003

Parmi les peintres les plus raffinés de sa génération, Thiebaud était enclin à apporter des modifications constantes à ses tableaux. En 2005, le peintre s'est réengagé The RiverhouseIl avait terminé la première version en 2001 parce qu'il savait qu'il y avait beaucoup plus de rayonnement et d'effets vibratoires à glaner. Une image de la première itération de Riverhouse de 2001 se trouve en illustration pleine page dans le catalogue, Delicious : The Life & Art of Wayne Thiebaud, par S. G. Rubin. Le présent exemple, plein d'un bel éclat, montre les résultats de la peinture révisionniste de Thiebaud.

En 2003, Riverhouse a inspiré une version plus grande intitulée River Channels.

"J'étais un enfant gâté. J'ai eu une vie formidable, alors la seule chose que je puisse faire, c'est de peindre des tableaux heureux." - Wayne Thiebaud

LES CONNAISSANCES DU MARCHÉ

  • Wayne THIEBAUD AMR Graphique
  • Wayne Thiebaud possède un solide historique de ventes aux enchères et de ventes, avec environ 450 œuvres apparaissant aux enchères depuis les années 1970.
  • Il y a un taux de croissance annuel composé de 13,8% pour Wayne Thiebaud.
  • Le décès récent de Thiebaud a été une tragédie ressentie dans tout le monde de l'art. Le marché a réagi en procédant à des acquisitions agressives de ses peintures à l'huile pour d'importantes collections de musées et pour des collectionneurs prudents. 

Les meilleurs résultats aux enchères

Huile sur toile, 68 x 72 in. Vendu chez Christie's New York : 10 juillet 2020.

"Quatre flippers" (1962) a été vendu pour 19 135 000 dollars.

Huile sur toile, 68 x 72 in. Vendu chez Christie's New York : 10 juillet 2020.
Huile sur toile, 72 x 48 in. Vendu à Poly Auction Hong Kong : 12 juillet 2022.

"Encased Cakes" (2011) a été vendu pour 10 089 557 dollars.

Huile sur toile, 72 x 48 in. Vendu à Poly Auction Hong Kong : 12 juillet 2022.
Acrylique sur toile, 72 x 60 1/8 in. Vendu chez Phillips New York : 23 juin 2021.

"Winding River" (2002) s'est vendu pour 9 809 000 dollars.

Acrylique sur toile, 72 x 60 1/8 in. Vendu chez Phillips New York : 23 juin 2021.
Huile sur toile, 29 7/8 x 23 3/4 in. Vendu chez Christie's New York : 13 mai 2021.

"Toweling Off" (1968) a été vendu pour 8 489 500 dollars.

Huile sur toile, 29 7/8 x 23 3/4 in. Vendu chez Christie's New York : 13 mai 2021.

Tableaux comparables vendus aux enchères

Acrylique sur toile, 72 x 60 1/8 in. Vendu chez Phillips New York : 23 juin 2021.

"Winding River" (2002) s'est vendu pour 9 809 000 dollars.

Acrylique sur toile, 72 x 60 1/8 in. Vendu chez Phillips New York : 23 juin 2021.
  • Peint à peu près au même moment où Thiebaud a créé The Riverhouse.
  • Plus de deux fois la taille de The Riverhouse
  • Perspective aérienne similaire
  • Vendu six mois avant le décès de Thiebaud en décembre 2021.
Acrylique sur toile, 48 x 72 in. Vendu chez Christie's New York : 8 novembre 2011.

"Delta Water" (2003) a été vendu pour 2 994 500 dollars.

Acrylique sur toile, 48 x 72 in. Vendu chez Christie's New York : 8 novembre 2011.
  • Peint à peu près au même moment où Thiebaud a créé The Riverhouse.
  • Considérablement plus grand que The Riverhouse
  • Perspective aérienne similaire
  • Vendu il y a plus de 10 ans
Huile sur toile, 36 x 72 in. Vendu chez Christie's New York : 12 novembre 2013.

"River Channels" (2003) a été vendu pour 2 405 000 dollars.

Huile sur toile, 36 x 72 in. Vendu chez Christie's New York : 12 novembre 2013.
  • Peint deux ans après l'achèvement de The Riverhouse .
  • 2x la taille de The Riverhouse, la composition de l'approche de Thiebaud à la peinture de River Channel a été directement influencée par sa peinture de The Riverhouse .
  • Perspective aérienne similaire

Peintures dans les collections des musées

"Flatland River" (1997), huile sur toile, 38 x 58 in.

Musée d'art moderne de San Francisco

"Flatland River" (1997), huile sur toile, 38 x 58 in.
"Levee Farms" (1998), huile sur toile, 48 x 48 in.

Smithsonian American Art Museum, Washington, D.C.

"Levee Farms" (1998), huile sur toile, 48 x 48 in.
"Ponds and Streams" (2001), acrylique sur toile, 72 x 60 in.

Musées des beaux-arts de San Franscisco

"Ponds and Streams" (2001), acrylique sur toile, 72 x 60 in.
"River Intersection" (2010), huile sur toile, 48 x 36 in.

Le Crocker Art Museum, Sacramento, Californie

"River Intersection" (2010), huile sur toile, 48 x 36 in.
"Je ne m'intéresse pas seulement aux aspects picturaux du paysage - voir un joli endroit et essayer de le peindre - mais à une certaine manière de le gérer, de le manipuler, ou de voir ce que je peux en faire." - Wayne Thiebaud

Galerie d'images

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Ressources supplémentaires

Voir d'autres exemples de peintures de Thiebaud "Sacramento Delta" exposées dans la rétrospective de l'œuvre de Thiebaud au Whitney en 2001.

Rétrospective du Whitney Museum

Voir d'autres exemples de peintures de Thiebaud "Sacramento Delta" exposées dans la rétrospective de l'œuvre de Thiebaud au Whitney en 2001.
Regardez et écoutez Wayne Thiebaud raconter l'impact formateur que la "Foire aux chevaux" (1852-55) de Rosa Bonheur a eu sur lui lorsqu'il était enfant.

Le "projet d'artiste" du Met

Regardez et écoutez Wayne Thiebaud raconter l'impact formateur que la "Foire aux chevaux" (1852-55) de Rosa Bonheur a eu sur lui lorsqu'il était enfant.
Lauren Palmor, conservatrice adjointe de l'art américain au de Young Museum de San Francisco, écrit sur les peintures de paysage de Thiebaud.

Les étangs et les cours d'eau de Wayne Thiebaud

Lauren Palmor, conservatrice adjointe de l'art américain au de Young Museum de San Francisco, écrit sur les peintures de paysage de Thiebaud.
Virginia Mecklenburg, conservatrice principale au Smithsonian American Art Museum, évoque la place de Thiebaud comme "l'un des géants de notre génération d'artistes".

Magazine Smithsonian

Virginia Mecklenburg, conservatrice principale au Smithsonian American Art Museum, évoque la place de Thiebaud comme "l'un des géants de notre génération d'artistes".
Le directeur associé et conservateur en chef du Crocker Art Museum vous emmène à la découverte de l'exposition 2020 du musée intitulée "Wayne Thiebaud 100".

Wayne Thiebaud 100

Le directeur associé et conservateur en chef du Crocker Art Museum vous emmène à la découverte de l'exposition 2020 du musée intitulée "Wayne Thiebaud 100".

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