Hotel Corner: Limited Edition Etching by Wayne Thiebaud, dated 1979 - 1998
View Similar Items
Wayne ThiebaudHotel Corner: Limited Edition Etching by Wayne Thiebaud, dated 1979 - 19981979/1998
1979/1998
About the Item
- Creator:Wayne Thiebaud (1920, American)
- Creation Year:1979/1998
- Dimensions:Height: 19.3 in (49 cm)Width: 15.75 in (40 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:The work is framed with 99% UV glass. The print is in excellent condition and the frame is good but looking a little worn on the back.
- Gallery Location:London, GB
- Reference Number:1stDibs: LU94733467302
Wayne Thiebaud
Wayne Thiebaud’s pastel-hued still-life paintings and prints of baked goods, gumball machines, hot dogs and paint cans are often associated with the Pop art movement, thanks to the mass-cultural appeal of their content. Stylistically, however, Thiebaud eschewed the precision found in the art of such Pop giants as Roy Lichtenstein and Andy Warhol in favor of a more painterly approach, not unlike that of the Italian modernist Giorgio Morandi, whose dreamy paintings of vessels and household objects are simple yet richly atmospheric.
Thiebaud was born in Mesa, Arizona, in 1920 and grew up in Southern California from the age of six months. As a high schooler, he had a summer apprenticeship at Walt Disney Studios, which led to a stint as a graphic artist in the U.S. Army Air Forces’ First Motion Picture Unit during World War II. After the war, he attended the California State College at Sacramento on the G.I. Bill, graduating with a bachelor’s degree in 1951 and earning a master’s soon after. He went on to teach at the University of California, Davis, from 1960 to ’91.
In the late ’50s, time spent living in New York City proved crucial to Thiebaud’s career. There, he befriended Abstract Expressionist painters Willem de Kooning and Franz Kline and drew inspiration from the work of Jasper Johns and Robert Rauschenberg. Admiring the color and form on display in New York’s many bakeries, he began painting small canvases featuring rows of treats, which would become one of his central subjects. Though Thiebaud himself doesn’t identify as a Pop artist, the first major exhibition that brought him national renown was a seminal 1962 Pop show at the Sidney Janis Gallery in Manhattan. That same year, he was included in "New Painting of Common Objects” at the Norton Simon Museum of Art at Pasadena, which also featured paintings by Ed Ruscha and Jim Dine. Iconic works such as Pie Counter (1963) demonstrate Thiebaud’s signature treatment of commonplace items with the grandeur and scale of a landscape.
Thiebaud’s interest in exaggerated colors and vernacular subject matter — characteristics that call to mind images found in mid-century advertising — made him an intriguing figure occupying the hazy borderlands between fine and commercial art. Yet through a masterful handling of paint, evocative use of light and poignant sense of isolation, Thiebaud’s work is unquestionably thoughtful and singular. His later forays into landscape painting, as seen in Steep Street (1989) or Country City (1988), bring to bear his bold use of color on complex urban scenes.
Pieces by Thiebaud can be found in the collections of major museums, including the Whitney Museum of American Art, the Los Angeles County Museum of Art and the Hirshhorn Museum and Sculpture Garden, among many others. In 1994, he was awarded the National Medal of Arts by President Bill Clinton.
Find original Wayne Thiebaud art on 1stDibs.
- Irving Guyer, Christmas Trees on Second Street (NYC)By Irving GuyerLocated in New York, NYPhiladelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...Category
1930s American Modern Figurative Prints
MaterialsDrypoint, Etching
- Low Country (South Carolina)By Elizabeth VernerLocated in Middletown, NYAn enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...Category
Early 20th Century American Modern Landscape Prints
MaterialsArchival Paper, Drypoint, Etching
- Tugs on the HudsonBy Charles Frederick William MielatzLocated in Middletown, NYDrypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City rive...Category
Early 20th Century American Modern Landscape Prints
MaterialsHandmade Paper, Drypoint, Etching
- House on Cliff Walk, Newport, Rhode IslandBy Clifford Isaac AddamsLocated in Storrs, CTHouse on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg catalog 13 state .i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression pr...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
$200 Sale Price27% Off - Caprice, or House on Cliff Walk, Newport, Rhode IslandBy Clifford Isaac AddamsLocated in Storrs, CTHouse on Cliff Walk, Newport, Rhode Island or Caprice, Newport, Rhode Island.. 1931/33. Etching. Hausberg catalog 138 state ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression ...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
$200 Sale Price20% Off - Bailey's Beach, Newport, Rhode Island.By Clifford Isaac AddamsLocated in Storrs, CTBailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg catalog 126 state vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed on cream wove paper ...Category
Mid-20th Century American Modern Landscape Prints
MaterialsDrypoint, Etching
$200 Sale Price20% Off