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Delicious Metropolis: The Desserts and Urban Scenes of Wayne Thiebaud
Delicious Metropolis: The Desserts and Urban Scenes of Wayne Thiebaud
Delicious Metropolis: The Desserts and Urban Scenes of Wayne Thiebaud
Ebook103 pages25 minutes

Delicious Metropolis: The Desserts and Urban Scenes of Wayne Thiebaud

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Delicious Metropolis brings together two of Wayne Thiebaud's most celebrated bodies of work: desserts and cityscapes. Between the two, fascinating juxtapositions develop. The layers of a Neapolitan cake echo the shadows cast across a street in the late afternoon. The pastel hues of iced sponge cakes match California's candy-colored houses. Curators, critics, and artists guide the reader through the book via insightful bite-size essays. This gorgeous hardcover offers fans and newcomers a refreshing and accessible way to enjoy the oeuvre of this iconic American painter. Complete with multicolored page edges evoking the layers of one of Thiebaud's mouthwatering cakes, it's a treat for art lovers, city-dwellers, and gourmets alike.
LanguageEnglish
Release dateApr 30, 2019
ISBN9781452170022
Delicious Metropolis: The Desserts and Urban Scenes of Wayne Thiebaud
Author

Wayne Thiebaud

Wayne Thiebaud is a world-renowned painter, recipient of the National Medal of Arts, and member of the California Hall of Fame. He lives in Sacramento.

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    Delicious Metropolis - Wayne Thiebaud

    Artist’s Statement

    Wayne Thiebaud

    Originally written in 1962 for the Museum of Modern Art, New York, as a part of the museum’s accession process

    At present I am painting still lifes taken from window displays, store counters, supermarket shelves, and mass produced items from manufacturing concerns in America.

    I try to find things to paint which I feel have been overlooked. Maybe a lollipop tree has not seemed like a thing worth painting because of its banal references . . . more likely it has previously been automatically rejected because it is not common enough. We do not wish it to be the object which essentiallizes our time. Each era produces its own still life. Painters use the objects as elements and units of their compositions. It seems to me that we are self-conscious about our still lifes without good reason. It is easier to celebrate the copper pots and clay pipes of Chardin or to pretend that our revolutions are the same as the ones expressed in the apples of Cézanne. We are hesitant to make our own life special . . . set our still lifes aside . . . applaud or criticize what is especially us. We don’t want our still lifes to tattle on us. But some years from now our foodstuffs, our pots, our dress, and our ideas will be quite different. So if we sentimentalize or adopt a posture more polite than our own we are not having a real look at ourselves for what we are. My interest in painting is traditional and modest in its aim. I hope that it may allow us to see ourselves looking at ourselves.

    The specific esthetic and philosophic problems which fascinate me are:

    LIGHT: Today the idea of light is tremendously variable. Strong display lights have been developed which can do all kinds of goofey and wonderful things . . . make an object cast colored shadows, change its local color before your eyes, glow and

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