Wayne Thiebaud

Paul Thiebaud Gallery, San Francisco
Acquired by the present owner from the above

This work is in very good condition overall. The surface is bright, fresh and clean. Under ultraviolet light inspection, there is a 1 inch horizontal line at the center right of the canvas that fluoresces brightly, but does not appear to be the result of restoration. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Wayne Thiebaud’s seductive still lifes capture the energy of singular moments through an immediacy of painterly touch and the intense contemplative study and rendering of nostalgic symbols of American life. His compositions are prolonged investigations of formal and structural issues, where spatial dynamics are exaggerated to the point of theatricality. Thiebaud’s One and a Half Cakes is constructed as bold sculptural forms decisively balanced and isolated within minimalistic open space. This poetic scene of mouth-watering sugary delicacies draws out a moment of stillness and optimistic serenity.

The opulence of Thiebaud’s swirling and luscious brushstrokes are central to the tangible rendering of the layered cakes. His oil paints are transformed into the material presence and texture of sensuous creamy frosting. In addition to a thickly loaded brush, Thiebaud further defines mass and space with dramatic raking light that displays his acute sensitivity towards the beauty of illumination and shadow. Combined with the serenely poised composition, the accentuated cast shadows give the cakes an uncanny density and presence. The present lot brilliantly displays Thiebaud’s ingenious manipulation of intense colors which resonate before the viewer. The juxtaposition of warm and cool tones which follow the contours and lines of the composition creates the effect of halation—a signature technique utilized throughout the artist’s career.

Thiebaud immediately won acclaim and popularity from his 1962 solo exhibition in New York at Allan Stone Gallery, which marked the beginning of a forty five year relationship between the artist and Mr. Stone. His portrayals of mass-produced consumer products were initially associated with the emerging Pop movement, however his paintings did not challenge the painting medium like other Pop contemporaries. He cohesively ties the gestural brushwork of the Abstract Expressionists with the refined structure and realism of commercial and Pop art. While eluding classification in traditional art categories, Thiebaud reinvigorated representational painting in an era when artists were pressured towards conceptual and nonobjective subjects. He famously expressed his devotion to painting in one of his own classroom lectures: “People say painting’s dead. Fine. It’s dead for you. I don’t care. Painting is alive for me. Painting is life for me.” (Exh. Cat., Fine Arts Museum of San Francisco, Wayne Thiebaud: A Paintings Retrospective, p. 41)