Calling him a “California painter,” as many do, would be like calling Albert Pinkham Ryder a “New York painter.” Thiebaud’s work is universal. His hallucinatory surfaces, uncanny perceptual intelligence, thick buildups of rich color, hard light, luminosity, tonal control, and Hopperesque remove create eye-worms that make you meld with the paintings, participate in how they were made. Following brushstrokes, lulled from surface to surface, you experience a release of internal rapture from form.
I met him, once, when I lectured in the 1990s at Davis. He sat in the front row. Until that moment, however, I’d never really thought about his work much. I respected it. But it felt off to one side, not as edgy or relevant to the moment as someone around his age, who also painted in California, and in his own colorful idiom, David Hockney. No matter. I showed slides of emerging artists like Matthew Barney, Janine Antoni, Chris Ofili, Kara Walker, Robert Gober, and Keff Koons, he was rapt.
The works that pull the rug out from under me are his cities and landscapes. Here, Thibault unleashes his visionary powers. Gaping holes open in space as city streets in rows and houses and on hills recede into infinity but force their way back to the surface of the work. Soon there’s no space here at all. It’s an American version of a Chinese landscape where you see vast distances and single trees at the same time and the work turns into a cloud.
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