“Ripley Street Ridge” by Californian painter Wayne Thiebaud sells for $1,022,500

Home/Arts/“Ripley Street Ridge” by Californian painter Wayne Thiebaud sells for $1,022,500

“Ripley Street Ridge” by Californian painter Wayne Thiebaud sells for $1,022,500

Wayne Thiebaud’s painting titled “Ripley Street Ridge” was bought for $1,022,500 during Christie’s Post-War And Contemporary Art auction in New York on May 14. I for one love this painting a lot. As the lot note describes it well, Thiebaud captures something very uniquely Californian so well on this painting.  And it’s more than the obvious, the landscape and lights.

"Ripley Street Ridge" by Wayne Thiebaud


From the lot note:
“Ripley Street Ridge is a prime example of Thiebaud’s distinctly dramatic depiction of the California urban landscape. This early landscape signifies a major development in the artist’s oeuvre and his growing assurance in his own brand of modern realism. Thiebaud has lived along the California coast, from the areas spanning San Diego to San Francisco for almost his entire life, and witnessed first hand the profound changes in post-war California with its urban growth and expanding car culture. This native knowledge of the west coast combined with an uncanny ability to capture the unique characteristics of California light informs the complexity of Thiebaud’s singular composition and design.

Thiebaud began seriously observing the urban landscape as a subject in 1972 when he purchased a second home in the Potrero Hill section of San Francisco. Inspired by the dramatic vantage points and pitched perspectives of the city’s topography, Thiebaud began his series that would continue well into the 90’s. As the artist recalls, “I was playing around with the abstract notions of edge–I was fascinated, living in San Francisco, by the way different streets just came in and then just vanished. So I sat out on a street corner and began to paint them.” It was the “sense of edges appearing, things swooping around their own edges that I loved” (Wayne Thiebaud: A Paintings Retrospective, exh. cat., Fine Arts Museums of San Francisco, 2000, p. 58).

From the hilly San Francisco streets, drawing pad in hand, Thiebaud makes a multitude of sketches (emulating the working method of his idol Edward Hopper), which he later reworks and compiles into larger paintings back in his studio. This composite technique allows Thiebaud to blend reality with his own vision. The artist explains his process, “What happens is that you start off with certain feelings, certain attitudes, that you have about this city, you have certain indigenous forms that you know how to annotate, but, if you then pay too much attention to the specifics of this, it may interfere with what you might personally be able to add to the vision. The artist’s work, it seems to me, combines three different worlds. There is our real world, which we all share and on which there is a consensus; the art world and its historical tradition; and one’s apperceptive mass, a unique, individual world. These influences have to be of almost equal percentage in order to insure a full visual experience” (Wayne Thiebaud: Cityscapes, exh. cat., Campbell-Thiebaud Gallery, 1993, p. 3).

Vividly venturing in the interval between abstraction and representation, Thiebaud’s buildings face the viewer as flattened squares or rectangles of creamy light-struck color. Streets become vertical zips and diagonally slicing ribbons that sweep us from under our feet and send us tumbling through a vertiginous intersection of juxtaposing planes and angles. For Thiebaud, Ripley Street Ridge is foremost a study of form and composition. Here he exaggerates the steep terrain of the San Francisco topography by conscious manipulation of color and light to paint texture, to produce a painting that is firstly an artistic construction; its role as a descriptive depiction is only secondary. Ripley Street Ridge addresses the dichotomy of the energy of city life co-existing in a scene of extreme foreshortening and shifting perspectives. The intersections of San Francisco became the perfect forum within which to explore the opposing tensions between modern abstraction and classic representation.”

Hear and see the man himself

By | 2009-05-21T13:49:45+00:00 May 21st, 2009|Arts|6 Comments

About the Author:

Realbird

6 Comments

  1. Earn by painting murals October 22, 2009 at 5:22 am

    Earn by painting murals…

    Mostly borderline amazing….

  2. porn September 24, 2017 at 9:43 pm

    Great post! We will be linking to this great content on our site.
    Keep up the great writing.

  3. reparation pc October 16, 2017 at 4:17 am

    hi!,I really like your writing very so much! percentage we communicate extra about your post on AOL?
    I need an expert in this house to solve my problem.

    Maybe that’s you! Having a look forward to see you.

  4. etsy November 5, 2017 at 4:57 am

    Hello I am so happy I found your website, I really found you by accident,
    while I was looking on Google for something else, Anyways I am here now and would
    just like to say kudos for a tremendous post and a all round enjoyable blog (I also love
    the theme/design), I don’t have time to read through it all at the moment but I have
    bookmarked it and also included your RSS feeds, so when I have time I will be back to read
    more, Please do keep up the fantastic b.

  5. VPN without DNS leaks November 19, 2017 at 6:25 pm

    This site was… how do I say it? Relevant!! Finally I
    have found something that helped me. Thank you!

  6. Paulo Bryan December 14, 2017 at 3:39 pm

    Ainda não. Valeu cara!!! Certo menos desigual não
    acontece. http://www.hongchangxuan.com/comment/html/?1859.html

Leave A Comment