לבררהיסטוריהתובנות שוקתוצאות המכירה הפומבית המובילותהשוואת מכירות פומביותעבודות באוספי המוזיאוןגלריית תמונותמשאבים נוספים
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ויין טייבו(1920-2021)

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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.
ריברהאוס 2001/200518 x 35 3/4 אינץ '. שמן על בד (45.72 x 90.81 ס"מ)
מקור ומקור
יונתן נובאק אמנות עכשווית, נרכש ישירות מהאמן
אוסף פרטי, שנרכש מהנ"ל
תערוכה
ניו יורק, ניו יורק, גלריות אקוואבלה, וויין טייבו, 23 באוקטובר - 30 בנובמבר 2012 (מאויר)
ספרות
רובין ס.ג., 2007, טעים: חייו ואמנותו של ויין טייבו, כרוניקה ספרים, חולה. עמ' 1
גב
לברר

"הדוגמאות הנפלאות והמוטיבים העיצוביים שצצים בחקלאות מרתקים אותי." – ויין ת'יבו

היסטוריה

כאשר ארבעים נופים כפריים של הדלתא של סקרמנטו מאת ויין ת'יבודו נחשפו בגלריה בסן פרנסיסקו שנפתחה בנובמבר 1997, המשתתפים נדהמו מציורים שמעולם לא ציפו להם. גבול חדש זה לא בגד לא בשליטתו של ת'יבודו בצבעי הקונדיטוריה ולא בעינו ללא דופי במערכות יחסים רשמיות. במקום זאת, מעריציו נדהמו לגלות שכל ארבעים הפירושים הללו, פרט לשבעה, הושלמו תוך שנתיים בלבד. כפי שבנו פול נזכר, "העידונים של התהליך האמנותי של אבי השתנו ללא הרף בטירוף דמוי זיקית". הכיוון החדש התגלה כחוויה מלהיבה, וכל אחד מהם מצייר אישור לתגובתו הנרגשת של ויין ת'יבו לשדות ולשדות של הסביבה המקומית שאהב מאוד. 

במבט מנקודת מבט של ציפור או מטוס, ריברהאוס הוא שטיח חקלאי שנוצר עם מגוון קליידוסקופי של צורות וצורות פשוטות; שדות מפוספסים בתלמים או במניפה מפוספסת, מקביליות וטרפזים בצבעים מזויפים, טריז בצורת פיצה מעוטר בפרדס, ונהר מעומעם באומץ, עורק החיים של עמק מרכזי צמא בקליפורניה התלוי במידה רבה במים מועברים.

"בית הנהר " הוא ציור ש"נע" בין מישורים של מיפוי אווירי הנעים בצורה חלקה, המזכיר את מכת התובנה של ריצ'רד דיבנקורן כאשר ביצע את טיסתו המסחרית הראשונה באביב 1951, לבין המחיצות הללו המפעילות נקודת מבט סטנדרטית יותר של נקודת מגוז. ת'יבודו הסביר את התהליך שלו כ"תזמור עם כמה שיותר מגוון וקצב". The Riverhouse , המואר בעוצמה דמוית פאבה, הוא תערובת של פיגמנט תוסס ואימפסטו עשיר; כזה שמזכיר את מחויבותו לפייר בונאר שאת צבעו כינה ת'יבו "דלי מלא גחלים לוהטות וקוביות קרח". בין ההשפעות הרבות האחרות שלו, החדרת אובייקטים — לעתים קרובות זעירים — המתריסים נגד תחושה רציונלית של קנה מידה המשקפת את התעניינותו בציור נוף סיני.

כמו תמיד, שליטתו כצייר מזכירה את הפשטידות והעוגות שלו עם הילות דמויות הקשת המכשפות שלהן וצבעים זה לצד זה בעוצמה שווה אך שונים בגוונים כדי ליצור את אפקט הרטט של הילה, מה שהסביר ת'יבודו "מציין ניסיון לפתח כמה שיותר אנרגיה ואור ועוצמה חזותית". ת'יבאוד'ס נופי הדלתא של סקרמנטו הם חלק בלתי נפרד וחשוב מיצירתו. ציורים כמו ריברהאוס מתחרים באמנות המופשטת הטובה ביותר של המאה העשרים. גם חברו הטוב, וילם דה קונינג חשב כך. 

ריצ'רד דיבנקורן, "תצלום אוויר, קליפורניה", בסביבות 1962, קרן ריצ'רד דיבנקורן

ריצ'רד דיבנקורן, "תצלום אוויר, קליפורניה", בסביבות 1962, קרן ריצ'רד דיבנקורן

ריצ'רד דיבנקורן, "ברקלי #44", 1955, אוסף פרטי

ריצ'רד דיבנקורן, "ברקלי #44", 1955, אוסף פרטי

ויין ת'יבו, "ערוצי נהר", 2003

ויין ת'יבו, "ערוצי נהר", 2003

בין הציירים המעודנים ביותר בדורו, ת'יבודו היה נוטה לבצע התאמות בלתי פוסקות לציוריו. בשנת 2005 הצייר התארס מחדש דה ריברהאוסאשר הושלם במקור בשנת 2001 כי הוא ידע שיש הרבה יותר זוהר ואפקט רטט להיות gleaned., תמונה של האיטרציה הראשונה של ריברהאוס משנת 2001 ניתן למצוא איור של עמוד שלם בקטלוג, טעים: חייו ואמנותו של ויין ת'יבו, מאת ס.ג. רובין. הדוגמה הנוכחית, מלאת הזוהר המקסים, מציגה את תוצאות הציור הרוויזיוניסטי של ת'יבו.

בשנת 2003, ריברהאוס היווה השראה לגרסה גדולה יותר בשם River Channels.

"הייתי ילד מפונק. היו לי חיים נהדרים, אז הדבר היחיד שאני יכול לעשות זה לצייר תמונות שמחות." – ויין ת'יבו

תובנות שוק

  • ויין ת'יבודו AMR גרף
  • לוויין ת'יבו יש היסטוריית מכירות פומביות ומכירות חזקה, עם כ-450 יצירות שהופיעו במכירה פומבית מאז שנות ה-70.
  • יש קצב צמיחה שנתי מורכב של 13.8% עבור ויין ת'יבו.
  • פטירתו לאחרונה של ת'יבודו הייתה טרגדיה שהורגשה ברחבי עולם האמנות.  השוק הגיב ברכישות אגרסיביות של ציורי השמן שלו עבור אוספי מוזיאונים בולטים ואספנים זהירים כאחד. 

תוצאות מובילות במכירה פומבית

שמן על בד, 68 x 72 אינץ'. נמכר בכריסטי'ס ניו יורק: 10 ביולי 2020.

"ארבע מכונות פינבול" (1962) נמכר ב-19,135,000 דולר.

שמן על בד, 68 x 72 אינץ'. נמכר בכריסטי'ס ניו יורק: 10 ביולי 2020.
שמן על בד, 200X200 ס"מ. נמכר במכירה פומבית של Poly בהונג קונג: 12 ביולי 2022.

"עוגות עטופות" (2011) נמכר ב-10,089,557 דולר.

שמן על בד, 200X200 ס"מ. נמכר במכירה פומבית של Poly בהונג קונג: 12 ביולי 2022.
אקריליק על בד, 72 x 60 1/8 אינץ'. נמכר בפיליפס ניו יורק: 23 ביוני 2021.

"נהר מתפתל" (2002) נמכר ב-9,809,000 דולר.

אקריליק על בד, 72 x 60 1/8 אינץ'. נמכר בפיליפס ניו יורק: 23 ביוני 2021.
שמן על בד, 29 7/8 x 23 3/4 אינץ'. נמכר בכריסטי'ס ניו יורק: 13 במאי 2021.

"מגבת" (1968) נמכר ב-8,489,500 דולר.

שמן על בד, 29 7/8 x 23 3/4 אינץ'. נמכר בכריסטי'ס ניו יורק: 13 במאי 2021.

ציורים דומים שנמכרו במכירה פומבית

אקריליק על בד, 72 x 60 1/8 אינץ'. נמכר בפיליפס ניו יורק: 23 ביוני 2021.

"נהר מתפתל" (2002) נמכר ב-9,809,000 דולר.

אקריליק על בד, 72 x 60 1/8 אינץ'. נמכר בפיליפס ניו יורק: 23 ביוני 2021.
  • צויר בערך באותו זמן שת'יבודו יצר את ריברהאוס
  • יותר מפי 2 מגודלו של ריברהאוס
  • פרספקטיבה אווירית דומה
  • נמכר חצי שנה לפני פטירתו של ת'יבודו בדצמבר 2021
אקריליק על בד, 120X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 8 בנובמבר 2011.

"דלתא ווטר" (2003) נמכר ב-2,994,500 דולר.

אקריליק על בד, 120X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 8 בנובמבר 2011.
  • צויר בערך באותו זמן שת'יבודו יצר את ריברהאוס
  • גדול משמעותית מריברהאוס
  • פרספקטיבה אווירית דומה
  • נמכר לפני יותר מ-10 שנים
שמן על בד, 100X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 12 בנובמבר 2013.

"ערוצי נהר" (2003) נמכר ב-2,405,000 דולר.

שמן על בד, 100X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 12 בנובמבר 2013.
  • צויר שנתיים לאחר ש" ריברהאוס" הושלם לראשונה
  • פי 2 מגודלו של ריברהאוס, הקומפוזיציה של גישתו של ת'יבודו לציור ערוץ הנהר הושפעה ישירות מצייורו של ריברהאוס
  • פרספקטיבה אווירית דומה

ציורים באוספי מוזיאונים

"נהר פלאטלנד" (1997), שמן על בד, 38X58 אינץ'.

מוזיאון סן פרנסיסקו לאמנות מודרנית

"נהר פלאטלנד" (1997), שמן על בד, 38X58 אינץ'.
"חוות לבי" (1998), שמן על בד, 48X48 אינץ'.

מוזיאון סמיתסוניאן לאמנות אמריקאית, וושינגטון, ד.C.

"חוות לבי" (1998), שמן על בד, 48X48 אינץ'.
"בריכות ונחלים" (2001), אקריליק על בד, 72X60 אינץ'.

מוזיאוני אמנות של סן פרנצ'סקו

"בריכות ונחלים" (2001), אקריליק על בד, 72X60 אינץ'.
"צומת נהר" (2010), שמן על בד, 48 x 36 אינץ '.

מוזיאון קרוקר לאמנות, סקרמנטו, קליפורניה

"צומת נהר" (2010), שמן על בד, 48 x 36 אינץ '.
"אני לא מתעניין רק בהיבטים הציוריים של הנוף – לראות מקום יפה ולנסות לצייר אותו – אלא בדרך כלשהי לנהל אותו, לתמרן אותו או לראות למה אני יכול להפוך אותו." – ויין ת'יבו

גלריית תמונות

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משאבים נוספים

ראו דוגמאות נוספות לציורי "הדלתא של סקרמנטו" של ת'יבודו שהוצגו ברטרוספקטיבה של ויטני משנת 2001 על עבודתו של ת'יבו.

רטרוספקטיבה של מוזיאון וויטני

ראו דוגמאות נוספות לציורי "הדלתא של סקרמנטו" של ת'יבודו שהוצגו ברטרוספקטיבה של ויטני משנת 2001 על עבודתו של ת'יבו.
צפו והאזינו לוויין ת'יבודו חולקים את ההשפעה המעצבת שהייתה ל"יריד הסוסים" של רוזה בונהור (1852-55) עליו כילד צעיר.

"פרויקט האמנים" של המטרופוליטן

צפו והאזינו לוויין ת'יבודו חולקים את ההשפעה המעצבת שהייתה ל"יריד הסוסים" של רוזה בונהור (1852-55) עליו כילד צעיר.
לורן פלמור, עוזרת האוצר לאמנות אמריקאית במוזיאון דה יאנג בסן פרנסיסקו, כותבת על ציורי הנוף של ת'יבו.

הבריכות והנחלים של ויין ת'יבו

לורן פלמור, עוזרת האוצר לאמנות אמריקאית במוזיאון דה יאנג בסן פרנסיסקו, כותבת על ציורי הנוף של ת'יבו.
האוצרת הבכירה של מוזיאון סמית'סוניאן לאמנות אמריקאית, וירג'יניה מקלנבורג, דנה במקומו של ת'יבו כ"אחד הענקים של דור האמנים שלנו".

מגזין סמיתסוניאן

האוצרת הבכירה של מוזיאון סמית'סוניאן לאמנות אמריקאית, וירג'יניה מקלנבורג, דנה במקומו של ת'יבו כ"אחד הענקים של דור האמנים שלנו".
מנהל שותף ואוצר ראשי של מוזיאון קרוקר לאמנות לוקח אותך דרך תערוכת המוזיאון 2020 "ויין ת'יבו 100".

ויין טייבו 100

מנהל שותף ואוצר ראשי של מוזיאון קרוקר לאמנות לוקח אותך דרך תערוכת המוזיאון 2020 "ויין ת'יבו 100".

לברר

בקשה - סינגל אמנותי

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