Word: diebenkorn
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...American artists to whom he is closest are Edward Hopper and his fellow Californian, the late great Richard Diebenkorn; among Europeans, the names Giorgio Morandi, Chardin and Manet are among the first to pop up. But he is also one of those painters who, happily, feel entitled to pick and quote wherever they choose: he does not suffer from the snobbery of influence. "The sublime of Orange Crate art," critic Adam Gopnik writes in his catalog introduction, and one knows just what he means. Thiebaud is one of the few American artists whose ambitions have no Puritan or didactic dimension...
...especially ultrasharp f/64 pix of very grand mountains by Ansel Adams and fuzzy Pictorialist ones of American nudes capering among the redwoods in homage to Isadora Duncan. In sculpture, not a hell of a lot. In painting, sad to admit, not much either. Two shining exceptions are recent - Richard Diebenkorn (1922-93) and Wayne Thiebaud (1920- ). But it should be grasped that one is not dealing with New York City 1900-2000, and still less with Paris...
...less so). The very perception of landscape and townscape was locked into auto experience. Even conventional views of buildings in the street, like Ed Ruscha's gas stations, give the impression that they're glimpsed vividly and briefly from a passing vehicle. And an essentially traditional modernist like Richard Diebenkorn, during the figurative-landscape phase of his work in the '50s and early '60s - represented here by a slashing landscape called "Freeway and Aqueduct, 1957" - gave those landscapes a sense of rapid movement in deep space, and an imagery of roadworks, water conduits and ramps that you can't dissociate...
...especially ultrasharp f/64 pix of very grand mountains by Ansel Adams and fuzzy Pictorialist ones of American nudes capering among the redwoods in homage to Isadora Duncan. In sculpture, not a hell of a lot. In painting, sad to admit, not much either. Two shining exceptions are recent--Richard Diebenkorn (1922-93) and Wayne Thiebaud (1920- ). But it should be grasped that one is not dealing with New York City 1900-2000, and still less with Paris...
...less so). The very perception of landscape and townscape was locked into auto experience. Even conventional views of buildings in the street, like Ed Ruscha's gas stations, give the impression that they're glimpsed vividly and briefly from a passing vehicle. And an essentially traditional modernist like Richard Diebenkorn, during the figurative-landscape phase of his work in the '50s and early '60s--represented here by a slashing landscape called Freeway and Aqueduct, 1957--gave those landscapes a sense of rapid movement in deep space, and an imagery of roadworks, water conduits and ramps that you can't dissociate...