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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.
河边小屋2001/200518 x 35 3/4 in.(45.72 x 90.81 cm)布面油画
种源
乔纳森-诺瓦克当代艺术，直接从艺术家处获得
私人收藏，从上面获得
展会信息
纽约，纽约，Acquavella画廊，韦恩-蒂博德，2012年10月23日至11月30日（有图解）。
文学
Rubin S. G., 2007, Delicious : The Life & Art of Wayne Thiebaud, Chronicle Books, ill. pg. 1
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"农业中出现的奇妙图案和设计主题让我着迷"。- 韦恩-蒂伯德

历程

1997年11月，当韦恩-蒂鲍德的40幅萨克拉门托三角洲农村风景画在旧金山画廊的开幕式上亮相时，与会者对他们从未预料到的画作感到惊奇。这个新领域既没有出卖蒂博德对糖果店色彩的掌握，也没有出卖他对形式关系无可挑剔的眼光。相反，他的崇拜者们震惊地了解到，这40幅演绎作品中除了7幅之外，其他都是在短短两年内完成的。正如他的儿子保罗所回忆的那样，"我父亲的艺术过程在变色龙般的狂热中不断变化"。新的方向被证明是一种令人振奋的体验，每一幅画都是韦恩-蒂博对他深爱的当地环境的田野和堤坝的热情回应的肯定。 

从鸟儿或飞机的角度来看，《 河畔小屋 》 是一幅农业挂毯，构思了一系列万花筒式的形状和简单的形式；有沟纹或条纹扇形的田地，色彩缤纷的平行四边形和梯形，被披萨形状楔形装饰的果园，以及一条大胆限定的河流，它是主要依靠运输水的干渴的加利福尼亚中央河谷的生命线。

河边小屋》是一幅在无缝转换的空中映射平面之间 "移动 "的画作，让人想起理查德-迪本科恩在1951年春天第一次乘坐商业航班时的洞察力，以及那些从事更标准的消失点视角的分区。Thiebaud解释说他的过程是 "用尽可能多的种类和节奏进行协调"。河边小屋 》 的光线明亮，具有野兽派的强度，是一种充满活力的颜料和丰富的印象派的混合体；这让人想起他对皮埃尔-博纳尔的感激之情，蒂鲍德把他的颜色称为 "一桶热煤和冰块"。在他的许多其他影响中，插入的物体--往往是微小的--违背了理性的尺度感，反映了他对中国山水画的兴趣。

一如既往，他作为一个画家的高超技艺让人想起他名下的馅饼和蛋糕，它们有着迷人的彩虹般的光晕，并排的颜色强度相同，但色调不同，以创造出光环的振动效果，Thiebaud解释说，"这表示试图开发尽可能多的能量和光线以及视觉力量"。Thiebaud的萨克拉门托三角洲风景画是他作品中不可或缺的重要部分。像《 河畔小屋 》 这样的画作可以与二十世纪最好的抽象艺术相媲美。他的好朋友威廉-德库宁也这样认为。 

理查德-迪本科恩，"航拍，加利福尼亚"，约1962年，理查德-迪本科恩基金会

理查德-迪本科恩，"航拍，加利福尼亚"，约1962年，理查德-迪本科恩基金会

理查德-迪本科恩，《伯克利44号》，1955年，私人收藏

理查德-迪本科恩，《伯克利44号》，1955年，私人收藏

Wayne Thiebaud，"河道"，2003年

Wayne Thiebaud，"河道"，2003年

在他那一代人中属于最精致的画家。 蒂博德 他很容易对他的画作进行不断的调整。2005年，这位画家重新参与了 河边小屋这部作品最初是在2001年完成的，因为他知道还有更多的光芒和振动效果可供收集。第一代作品的图像 河边小屋 从2001年开始，可以在目录中找到整版的插图。 美味：韦恩-蒂博德的生活和艺术》， 作者：S. G. 鲁宾.本例充满了可爱的光芒，显示了蒂博德修正性绘画的成果。

2003年，Riverhouse激发了一个更大的版本，名为River Channels。

"我是一个被宠坏的孩子。我有一个伟大的生活，所以我唯一能做的就是画出快乐的画。"- 韦恩-蒂鲍德

市场情报

  • Wayne THIEBAUD AMR图表
  • Wayne Thiebaud拥有强大的拍卖和销售历史，自1970年代以来，大约有450件作品出现在拍卖会上。
  • Wayne Thiebaud的复合年增长率为13.8%。
  • Thiebaud最近的去世是整个艺术界的悲剧。 市场的反应是为著名的博物馆收藏和谨慎的收藏家积极收购他的油画作品。 

拍卖会的最高结果

布面油画，68 x 72英寸。 在纽约佳士得拍卖会上出售：2020年7月10日。

"四台弹球机"（1962年）以1913.5万美元成交。

布面油画，68 x 72英寸。 在纽约佳士得拍卖会上出售：2020年7月10日。
油彩画布，72 x 48英寸。在香港保利拍卖会上售出：2022年7月12日。

"Encased Cakes"（2011年）以10,089,557美元成交。

油彩画布，72 x 48英寸。在香港保利拍卖会上售出：2022年7月12日。
布面丙烯，72 x 60 1/8英寸。在纽约菲利普斯拍卖：2021年6月23日。

"Winding River"（2002年）以9,809,000美元成交。

布面丙烯，72 x 60 1/8英寸。在纽约菲利普斯拍卖：2021年6月23日。
布面油画，29 7/8 x 23 3/4英寸。在纽约佳士得拍卖会上出售：2021年5月13日。

"Toweling Off"（1968年）以8,489,500美元成交。

布面油画，29 7/8 x 23 3/4英寸。在纽约佳士得拍卖会上出售：2021年5月13日。

同类拍卖的画作

布面丙烯，72 x 60 1/8英寸。在纽约菲利普斯拍卖：2021年6月23日。

"Winding River"（2002年）以9,809,000美元成交。

布面丙烯，72 x 60 1/8英寸。在纽约菲利普斯拍卖：2021年6月23日。
  • 大约在蒂博德创作《河边小屋》的同一时间画的。
  • 超过2倍于The Riverhouse的规模
  • 类似的空中视角
  • 在蒂博德2021年12月去世前六个月售出
布面丙烯，48 x 72英寸。在纽约佳士得拍卖会上出售：2011年11月8日。

"Delta Water"（2003年）以2,994,500美元成交。

布面丙烯，48 x 72英寸。在纽约佳士得拍卖会上出售：2011年11月8日。
  • 大约在蒂博德创作《河边小屋》的同一时间画的。
  • 比The Riverhouse大得多
  • 类似的空中视角
  • 10多年前售出
布面油画，36 x 72英寸。在纽约佳士得拍卖会上出售：2013年11月12日。

"River Channels"（2003年）以240.5万美元成交。

布面油画，36 x 72英寸。在纽约佳士得拍卖会上出售：2013年11月12日。
  • 在《河畔小屋》 首次完成后的两年内绘制的
  • 2倍于《河屋》的尺寸，蒂博德画《河道》的构图方式直接受到了他画《河屋》 的影响。
  • 类似的空中视角

博物馆收藏的画作

"平地河"（1997年），布面油画，38 x 58英寸。

旧金山现代艺术博物馆

"平地河"（1997年），布面油画，38 x 58英寸。
"堤坝农场"（1998年），布面油画，48 x 48英寸。

史密森尼美国艺术博物馆，华盛顿特区。

"堤坝农场"（1998年），布面油画，48 x 48英寸。
"池塘和溪流"（2001年），丙烯酸画布，72 x 60英寸。

圣弗朗西斯科的美术博物馆

"池塘和溪流"（2001年），丙烯酸画布，72 x 60英寸。
"River Intersection"（2010年），布面油画，48 x 36英寸。

克罗克艺术博物馆，萨克拉门托，加利福尼亚

"River Intersection"（2010），布面油画，48 x 36英寸。
"我不只是对风景的绘画方面感兴趣--看到一个漂亮的地方并试图画它--而是以某种方式来管理它，操纵它，或者看看我能把它变成什么。"- 韦恩-蒂鲍德

图片库

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其他资源

参见惠特尼美术馆2001年举办的蒂博德作品回顾展中展出的蒂博德的 "萨克拉门托三角洲 "画作的其他例子。

惠特尼博物馆回顾展

参见惠特尼美术馆2001年举办的蒂博德作品回顾展中展出的蒂博德的 "萨克拉门托三角洲 "画作的其他例子。
观看并聆听韦恩-蒂博德分享罗莎-波尔的《马市》（1852-55）对他年幼时的形成性影响。

大都会的 "艺术家项目"

观看并聆听韦恩-蒂博德分享罗莎-波尔的《马市》（1852-55）对他年幼时的形成性影响。
旧金山德扬博物馆的美国艺术助理馆长劳伦-帕莫（Lauren Palmor）就蒂博德的风景画写道。

韦恩-蒂鲍德的池塘和溪流

旧金山德扬博物馆的美国艺术助理馆长劳伦-帕莫（Lauren Palmor）就蒂博德的风景画写道。
史密森尼美国艺术博物馆高级策展人弗吉尼亚-梅克伦伯格讨论了锡伯德作为 "我们这一代艺术家中的巨人之一 "的地位。

史密森尼杂志

史密森尼美国艺术博物馆高级策展人弗吉尼亚-梅克伦伯格讨论了锡伯德作为 "我们这一代艺术家中的巨人之一 "的地位。
克罗克艺术博物馆副馆长兼首席策展人带您了解该博物馆2020年的展览 "韦恩-蒂博德100"。

Wayne Thiebaud 100

克罗克艺术博物馆副馆长兼首席策展人带您了解该博物馆2020年的展览 "韦恩-蒂博德100"。

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