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WAYNE THIEBAUD (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.
ザ・リバーハウス2001/200518 x 35 3/4 in.(45.72 x 90.81 cm)油彩・キャンバス
出所
ジョナサン・ノバック・コンテンポラリー・アート、作家より直接購入
個人コレクション、上記より取得
展示会
ニューヨーク、アッカヴェラ・ギャラリーズ、ウェイン・ティーボー、2012年10月23日～11月30日（図版あり）
文学
Rubin S. G., 2007, 『Delicious : The Life & Art of Wayne Thiebaud』, Chronicle Books, ill. pg. 1
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"農業の中に現れる素晴らしいパターンやデザインのモチーフに魅了される"- ウェイン・ティーボー

歴史

1997年11月、サンフランシスコのギャラリーのオープニングで公開されたウェイン・ティーボーの40点のサクラメント・デルタの田園風景は、参加者にとって予想外の絵画であった。この新境地は、ティーボーが得意とするお菓子屋さんのような色使いや、形式的な関係を見抜く完璧な目を裏切るものではなかった。むしろ、この40点のうち7点を除いて、すべてがわずか2年の間に完成されたものであることに、彼のファンたちは衝撃を受けたのである。息子のポールは、「父の芸術的な洗練は、カメレオンのような熱狂の中で常に変化していた」と回想している。この新しい方向性は、ウェイン・ティーボーが愛してやまないこの土地の野原や堤防に対する熱烈な反応を、一枚一枚の絵が肯定してくれるような、爽快な体験となった。 

鳥や飛行機の視点から見た「 ザ・リバーハウス」は、万華鏡のように多彩な形とシンプルなフォームで構成された農耕のタペストリーです。溝や扇状に広がる畑、錯乱した色の平行四辺形や台形、ピザ型の楔を添えた果樹園、輸送水に大きく依存するカリフォルニア中央部の生命線、大胆に縁取られた河川があります。

リバーハウスは、1951年の春にリチャード・ディーベンコーンが初めて商業飛行をしたときの洞察力を思い起こさせる、シームレスに変化する航空写真と、より標準的な消失点の視点との間を「移動」する絵画である。ティボーはその制作プロセスを「できる限り多様でテンポの良いオーケストレーション」と説明しています。フォーブのように明るく照らされた「The Riverhouse」は、鮮やかな顔料と豊かなインパストが混ざり合った作品であり、ティーボーが「熱い石炭と氷の入ったバケツ」と呼んだピエール・ボナールへの恩義を感じさせる。また、中国の山水画への関心を反映し、合理的なスケール感を無視した小さなオブジェを挿入するなど、多くの影響を受けている。

虹のような光輪や、同じ濃さでありながら色相の異なる色彩を並べてオーラのような波動効果を生み出し、「できる限りのエネルギーと光と視覚的な力を開発する試み」とティーボーが説明するように、彼の画家としての優れた才能は、タイトルになったパイとケーキを思い起こさせます。サクラメント・デルタの風景は、彼の作品に欠くことのできない重要な部分である。リバーハウス』などの作品は、20世紀最高の抽象芸術と肩を並べるものです。彼の良き友人であるウィレム・デ・クーニングもそう考えていた。 

リチャード・ディベンコーン 「航空写真、カリフォルニア」 1962年頃 リチャード・ディベンコーン財団

リチャード・ディベンコーン 「航空写真、カリフォルニア」 1962年頃 リチャード・ディベンコーン財団

リチャード・ディベンコーン《バークレー#44》1955年 個人蔵

リチャード・ディベンコーン《バークレー#44》1955年 個人蔵

ウェイン・ティーボー「リバーチャンネル」 2003年

ウェイン・ティーボー「リバーチャンネル」 2003年

同世代の画家の中で最も洗練された画家の一人。 ティーボー は、常に絵画の調整を行う傾向があった。2005年、画家は再び ザ・リバーハウスというのも、もっともっと輝きや波動が得られるはずだと思ったからです。第1弾のイメージ図 リバーハウス 2001年版は、カタログの全ページにイラストが掲載されています。 デリシャス：ウェイン・ティーボーの人生と芸術、 S.G.ルービン著.美しい輝きに満ちた本品は、シーボーの修正画の成果を示すものである。

2003年、「Riverhouse」は「River Channels」というタイトルの大型版を生み出しました。

"私は甘やかされた子供でした。だから、私にできることは、幸せな絵を描くことだけなんです。- ウェイン・ティーボー

マーケットインサイト

  • Wayne THIEBAUD AMRグラフ
  • ウェイン・ティーボーは、1970年代以降、約450点の作品がオークションに出品されており、その販売実績は豊富である。
  • ウェイン・シーボーの年間平均成長率は13.8％です。
  • ティーボー氏の死は、美術界に大きな悲劇をもたらしました。 ティボーの油彩画は、著名な美術館のコレクションや慎重なコレクターの間で積極的に購入され、市場はこれに応えている。 

オークションでの上位入賞実績

油彩・キャンバス、68×72インチ クリスティーズ・ニューヨークにて販売：2020年7月10日。

"Four Pinball Machines"（1962年）が19,135,000円で落札されました。

油彩・キャンバス、68×72インチ クリスティーズ・ニューヨークにて販売：2020年7月10日。
油彩・キャンバス、72×48インチポリオークション香港にて販売：2022年7月12日。

"Encased Cakes" (2011)は10,089,557ドルで落札されました。

油彩・キャンバス、72×48インチポリオークション香港にて販売：2022年7月12日。
アクリル、キャンバス、72 x 60 1/8 in.Phillips New Yorkにて販売：2021年6月23日。

"Winding River"（2002年）は9,809,000ドルで落札されました。

アクリル、キャンバス、72 x 60 1/8 in.Phillips New Yorkにて販売：2021年6月23日。
キャンバスに油彩、29 7/8 x 23 3/4 in. クリスティーズ・ニューヨークにて販売：2021年5月13日。

"Toweling Off"（1968年）は8,489,500ドルで落札されました。

キャンバスに油彩、29 7/8 x 23 3/4 in. クリスティーズ・ニューヨークにて販売：2021年5月13日。

オークションで落札された絵画

アクリル、キャンバス、72 x 60 1/8 in.Phillips New Yorkにて販売：2021年6月23日。

"Winding River"（2002年）は9,809,000ドルで落札されました。

アクリル、キャンバス、72 x 60 1/8 in.Phillips New Yorkにて販売：2021年6月23日。
  • ティーボーが「リバーハウス」を制作したのと同時期に描かれた作品
  • ザ・リバーハウスの2倍以上の広さ
  • 類似の空撮パース
  • 2021年12月にシーボーが亡くなる半年前に販売されたもの
キャンバスにアクリル、48 x 72 in. 2011年11月8日クリスティーズニューヨークにて落札。

"Delta Water" (2003)は2,994,500ドルで落札されました。

キャンバスにアクリル、48 x 72 in. 2011年11月8日クリスティーズニューヨークにて落札。
  • ティーボーが「リバーハウス」を制作したのと同時期に描かれた作品
  • ザ・リバーハウスよりかなり大きい
  • 類似の空撮パース
  • 10年以上前に売却
キャンバスに油彩、36 x 72 in. クリスティーズ・ニューヨークで落札：2013年11月12日。

"River Channels" (2003)は2,405,000ドルで落札されました。

キャンバスに油彩、36 x 72 in. クリスティーズ・ニューヨークで落札：2013年11月12日。
  • ザ・リバーハウス 」が完成した2年後に描かれた作品
  • 2xThe Riverhouseのサイズ、ティーボーがリバーチャンネルを描くアプローチは、直接的にThe Riverhouseの 絵に影響を受けている。
  • 類似の空撮パース

美術館所蔵の絵画

"Flatland River" (1997)、油彩・キャンバス、38 x 58 in.

サンフランシスコ近代美術館

"Flatland River" (1997)、油彩・キャンバス、38 x 58 in.
"Levee Farms" (1998)、油彩・キャンバス、48 x 48 in.

スミソニアン・アメリカン・アート・ミュージアム（ワシントンD.C.）。

"Levee Farms" (1998)、油彩・キャンバス、48 x 48 in.
"Ponds and Streams" (2001), キャンバスにアクリル, 72 x 60 in.

サンフランシスコ美術館

"Ponds and Streams" (2001), キャンバスにアクリル, 72 x 60 in.
"River Intersection" (2010)、油彩・キャンバス、48 x 36 in.

クロッカー美術館（サクラメント、カリフォルニア州

"River Intersection" (2010)、油彩・キャンバス、48 x 36 in.
「私は、きれいな場所を見て、それを描こうとするだけでなく、何らかの方法でそれを管理し、操作し、それを何に変えることができるかという、風景の絵画的側面に興味があるのです」。- ウェイン・ティーボー

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追加リソース

2001年に開催されたホイットニーの回顧展で展示されたシーボーの「サクラメント・デルタ」絵画の他の作例もご覧ください。

ホイットニー美術館回顧展

2001年に開催されたホイットニーの回顧展で展示されたシーボーの「サクラメント・デルタ」絵画の他の作例もご覧ください。
ロサ・ボヌールの『馬市』（1852-55）が幼い頃の彼に与えた影響を、ウェイン・ティーボーが語るのを聞いてください。

メットの "アーティスト・プロジェクト"

ロサ・ボヌールの『馬市』（1852-55）が幼い頃の彼に与えた影響を、ウェイン・ティーボーが語るのを聞いてください。
サンフランシスコのデ・ヤング美術館のアメリカンアート部門のアシスタント・キュレーターであるローレン・パーマーが、シーボーの風景画について書いています。

ウェイン・ティーボーの池と小川

サンフランシスコのデ・ヤング美術館のアメリカンアート部門のアシスタント・キュレーターであるローレン・パーマーが、シーボーの風景画について書いています。
スミソニアン・アメリカ美術館シニア・キュレーターのヴァージニア・メクレンバーグが、ティーボーが「我々の世代のアーティストにおける巨人の一人」であることを語る。

スミソニアン・マガジン

スミソニアン・アメリカ美術館シニア・キュレーターのヴァージニア・メクレンバーグが、ティーボーが「我々の世代のアーティストにおける巨人の一人」であることを語る。
クロッカー美術館のアソシエイト・ディレクター兼チーフ・キュレーターが、2020年に開催される同美術館の展覧会 "Wayne Thiebaud 100" をご案内します。

ウェイン・ティーボー 100

クロッカー美術館のアソシエイト・ディレクター兼チーフ・キュレーターが、2020年に開催される同美術館の展覧会 "Wayne Thiebaud 100" をご案内します。

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