You’ve apparently apparent the paintings of cakes, pies, gumballs and added confections.
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Wayne Thiebaud has fabricated a amazing active off that stuff.
But you may not accept apparent his beforehand portraits, drawings, landscapes and still lifes. Those works acknowledge a broader ambit and accomplishments for the 86-year-old Sacramento-based artist, and are acutely featured in a new attendant at the Laguna Art Museum.
“Wayne Thiebaud: 70 Years of Painting,” curated by art assistant Gene Cooper, incorporates assignment from a younger, beach-going Thiebaud, who served as a lifeguard in Long Bank during his boyish years.
The attendant additionally includes portraiture, allegorical sketches on cardboard from the 1970s, and after cityscapes that mirror the appearance of Richard Diebenkorn. The exhibition runs through Jan. 27.
Thiebaud has become best frequently associated with Pop Art for his photorealistic paintings of cakes and pies, generally in bottle cases or analogously on display. The colors are affluent and the forms are geometric and simple, giving a confectionary, candylike affection to the work.
He was included in a seminal 1962 accumulation exhibit, “New Painting of Common Objects,” at the Pasadena Art Museum. That important appearance – additionally featuring Andy Warhol, Roy Lichtenstein and Ed Ruscha – is advised one of the aboriginal Pop Art exhibits in the United States.
In the accepted Laguna show, some of the assignment is from or aggressive by that period, including “Watermelon Slices” (1961), an oil on canvas; “Dark Candy Apples” (1983), an oil on board; “Bakery Case,” a large, 1996 oil on canvas; and “Food Bowls” (2005), addition oil on canvas.
Thiebaud has a aptitude for authoritative assorted foods artistic: His oil on canvas, “Fish on Platter” (1980), is apparently the best aesthetically rendered asleep angle I’ve anytime seen.
“35¢ Masterworks” (1970-72) is a able affirmation of Thiebaud’s ambit and agility, as he reproduces masterpieces by Picasso, Mondrian, Cézanne, Rousseau, Monet and Degas, showcasing the miniature versions in a bargain sales rack.
PORTRAIT AS A YOUNG MAN
The Pop confections accept their day, but what’s best arresting about Thiebaud and this exhibition is not his commercially acknowledged assignment but his aptitude and accomplishment as a adolescent artist.
Way aback in 1936, Thiebaud corrective “Fisherman,” an alive account composed with oil on board. Rugged appearance and absolute brushstrokes accord this painting a physical, about sculpted quality.
“Portrait of My Father” (1945), a graphite cartoon on paper, depicts a serious, abstemious man with abrasion beard and a appropriately askance tie. One senses from this alms that the son – the artisan – is absolutely altered from the father.
“Male Account (Rembrandt)” (c. 1947) is a cautiously rendered watercolor on cardboard done in a dark, Old Master appearance that’s afar afar from the cakes and pies. The mural “Ocean Rocks” (1948), the semi-abstract “Fair Mural (Proposal)” (c. 1954), and the alfresco “Beach Boys” (1959) announce that the adolescent Thiebaud was added accessible to analysis in the decades afore he begin his acceptable formula.
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The oil on canvas “Beach Boys” should be apparent in person; reproductions don’t do amends to the blubbery brushstrokes and layers of impasto.
ACTIVE IN HIS 80s
Thiebaud, who turns 87 on Nov. 23, has kept a abounding clip in contempo years. A cardinal of works in this appearance are anachronous in the 2000s, including several from 2007.
His “Ballroom Trio” alternation (2003-07) is quiet and reflective, with the traces of dancers’ gowns and apparel mirrored in the attic like adulterated apparitions.
The alfresco “Flood Waters” (2006), “Ocean City” (2006-07), and “Palm Street” (2006-07) are accurate studies in line, adumbration and light, composed in a appearance that has accessible access to Diebenkorn and the Bay Area allegorical movement.
Other after pieces, such as “Dark Beach” (2003), “Pier Study” (2003-07) and “Tide Lines” (2004-06), are not absolutely as assiduous and alike bound on sloppy.
Thiebaud’s “Dog and Shadow” (2007) is a ample oil on canvas of a dog bonds with activity on a white-sand beach, his adumbration bouncing behind. It’s a bright assurance that the artisan has not absent his faculty of archness and whimsy.
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