![]() The ink can be left uncovered in the jar without hardening or forming a skin. Monotypes print best on dry smooth paper. It may be necessary to dampen paper for shallow bitten plates with high contrast images. Plates with greater tonal value, deeply bitten or raised surfaces require dampened paper. Once the print is dry the ink is permanent.Ĭhoose to print on dry or damp paper according to what may best be suited for your techinque. As they contain no dryers the ink drying time will be similar to oil based inks. Although water based the inks are not water soluble and cannot be reactivated by water even while prints are wet. They contain no driers, offfering a long working time for monoprinting or wiping the plate. This ink can also be applied with a brayer for relief printmaking, monotype and collagraphs and it will print from any plastic, wood, linoleum or metal plate. It has a thick buttery consistency with minimal water content. In 1994, he was awarded the National Medal of Arts by President Bill Clinton.įind original Wayne Thiebaud art on 1stDibs.Akua is a soy based printmaking ink made with the high quality lightfast pigments. 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. 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. Yet through a masterful handling of paint, evocative use of light and poignant sense of isolation, Thiebaud’s work is unquestionably thoughtful and singular. 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. Iconic works such as Pie Counter (1963) demonstrate Thiebaud’s signature treatment of commonplace items with the grandeur and scale of a landscape. 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. 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. 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. There, he befriended Abstract Expressionist painters Willem de Kooning and Franz Kline and drew inspiration from the work of Jasper Johns and Robert Rauschenberg. In the late ’50s, time spent living in New York City proved crucial to Thiebaud’s career. ![]() He went on to teach at the University of California, Davis, from 1960 to ’91. ![]() Bill, graduating with a bachelor’s degree in 1951 and earning a master’s soon after. After the war, he attended the California State College at Sacramento on the G.I. Army Air Forces’ First Motion Picture Unit during World War II. 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. Thiebaud was born in Mesa, Arizona, in 1920 and grew up in Southern California from the age of six months. 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. 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.
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