Wayne Thiebaud rose to prominence in the 1960s at the same time as Pop artists Andy Warhol, Roy Lichtenstein, and James Rosenquist, though he did not feel aligned with the movement. Unlike these contemporaries, many of whom embraced commercial techniques, Thiebaud described himself as a traditional painter of illusionistic forms. He repeatedly tackled familiar, everyday subjects to challenge and explore the formal possibilities of painting. His meticulously crafted surfaces are steeped with art historical references and a subtle longing for a sweeter time.
In (1969) the simplicity of the composition highlights Thiebaud’s technical approach to his paintings. Richly painted in pastel shades of pink, the ice cream emerges almost sculpturally against a stark, blank background, its thick layers of paint bulging past the flat plane of the canvas. Dedicated to a tradition of figuration, Thiebaud’s demonstrates the artist’s strength in color and masterful use of impasto and brushwork, with the swaths of creamy paint suggesting the ice cream melting in front of the viewer. His painting (2002) reflects his sustained interest in the role of sweets as a collective experience, imbuing the painting with the same strain of nostalgia that he employed nearly four decades earlier.
Though most famous for his persistent rendering of still lifes, portraiture and landscapes were also central to the artist’s practice over the many decades of his career. His portraits reflect a similar modality as his scenes of food– highly stylized, colorful subjects set against distilled backgrounds. (1965) presents the artist’s wife sporting a striped swimsuit in profile, extending her focus past the edge of the frame. Rendering the face with a playful veracity, Thiebaud subverts the image subtly by changing the perspective of the torso to a three-quarters position, flattening the swimsuit’s stripes against the contours of the body. The brightly patterned swimsuit creates a moment of technical interest and abstraction that hints at a body in motion, ready to dip into summer’s waters.
This same subversion of perspective also defines the artist’s landscapes, blending points of view to create dreamy realities of the beach bending against water and heat. (2004–2014) pushes the artist’s strength in landscapes to its limits, casting his beachgoers into oscillating passages of color. In the foreground, the beachgoers buzz with detail and motion, inducing a feeling of summer ease and nostalgia. As the painting recedes, however, the rendering of the beach distorts and twirls. In lucid hues of yellow, purple, and blue, Thiebaud disrupts the atmospheric perspective with a quickening flatness, rejecting the vanishing point for an absorbing color field thick with movement and animated brushwork. Echoing lapping waves and the long hours of summer days, welcomes the viewer into a hypnotizing scene reminiscent of calm, playful vacations in thick heat.
tracks the career of the artist over six decades, revealing his retained interest in lighthearted subjects while casting them in traditional modes of painting. This exhibition celebrates the artist’s regard for the delights of the quintessentially American summer experience, from its sweet ice creams and chilled soda pops to beach games and barbecues, melting a grey winter into a fading memory. In his paintings, an American nostalgia gently invites the viewer into the season’s space, readying them for warmer days ahead.
The exhibition will be accompanied by an illustrated catalogue with essays by curator and art historian Steven Nash and art historian Mary Okin.

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泰迪小熊

Came here on September 19, 2017.

The Metropolitan Museum of Art is one of the most important museums in the world. With the influence of American imperialism, it has collected cultural relics and artworks from various civilizations around the world through plunder. Most of these exhibits are representative cultural relics of various civilizations. I believe that every visitor will feel mixed emotions here.

The entire museum is classified according to different civilizations on different continents. Because everyone knows the origin of the collections, the exhibition is very simple and crude, that is, putting the things of a civilization in one place, without any good narrative, it is completely a &quot;trophy&quot; display.

There are many collections here. If you want to see them carefully, you need to spend one or two days. The museum is next to Central Park, and the two places can also be arranged to visit in one day, half a day in the park and half a day in the museum.

Statue of Liberty

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dejason

The representative of New York, the United States, there are two lines to go, we are on the ferry, and there are speedboats to sit, but this is the most cost-effective. I went at two o&#39;clock in the afternoon. There were not many people. It was just right to come back. If I went in the morning, there were more tour groups and the queue was very long.

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The first day of the New Year is a tourist, but compared to the domestic people, the queue time is reasonable. . . The roof is too windy, the 80th floor is indoor, the photo has reflection, you can go up to the 86th floor to take pictures outside, overlooking the whole of New York.

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M86***49

The Museum of Modern Art in New York is full of creativity and modernity. The artworks in the museum span multiple fields, from Picasso to Andy Warhol, and each piece of work can inspire thinking. The exhibition is rich in content and the space is beautifully designed, which is very suitable for art lovers and cultural tourists.

Rockefeller Center

dede13

Very crowded and packed with tourists. Many people are willing to take photos here. Quite closed with the Radio City and Saks Avenue.A must place to go in New York.

Time:	Apr 26–Jun 14, 2024 (UTC-5) ENDED
Location:	18 East 79th Street, NY 10075

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