I didn’t realize it at the time, but the back-end advantage to the relatively nomadic life my husband and I lived during our first decade of marriage is that we now have a handful of very special places (and people) to revisit across the country.
Untitled (Neapolitan Pie) ©Wayne Thiebaud, ca.1990, Pastel and graphite on paper
Untitled (Two Ice Cream Scoops on Plate) ©Wayne Thiebaud, ca. 1985, Watercolor and graphite on paper
Over the years, my artistic sensibilities were unquestionably influenced by the various places we’ve lived, as well as by many of the artists who are iconic to those locales. At one point or another I’ve called Maine, Washington, Virginia, California, Hawaii, Pennsylvania, and Vermont home, and I’ve collected my fair share of artistic heroes along the way.
Untitled (Bakery Case) ©Wayne Thiebaud, ca.1963, Felt-tip pen on paper
Untitled (Bakery Case with Wedding Cake) ©Wayne Thiebaud, ca. 1963, Felt-tip pen on paper In 1962 Thiebaud stated, “At present, I am painting still lifes take from window displays, store counters, supermarket shelves, and mass-produced items from manufacturing concerns in America.” Responding to the postwar manufacturing boom, commercial developments such as the Nut Tree along U.S. Route 80 offered unprecedented visual experiences surrounding the ritual of food, including seductive confectionary cases like those seen here. Although a wedding cake seems to promise fulfillment, the lack of human presence evokes a sense of emptiness.
Wayne Thiebaud is right up there at the top of my list, so I have been looking forward to seeing the current exhibit of his drawings and paintings at San Francisco MoMA for months. It was a thrill to finally get there last week.
©Wayne Thiebaud, Untitled sketches, Ink on paper
©Wayne Thiebaud, Untitled Sketches, Ink on paper
SFO ©2019 Elizabeth Fram Thiebaud’s deft sketches are incentive to keep practicing
Pairing Thibaud’s work with the companion exhibit “Artist’s Choice” (pieces from the Museum’s collection that Thiebaud hand-selected himself) rounded out the experience beautifully. Each painting in this concurrent exhibit is tagged with Thiebaud’s notations, providing not only a window into his thought process in choosing a particular piece, but presumably identifying various factors that contribute to the way he approaches his own work as well. They are words of wisdom from a teacher I wish I had had.
Orange Sweater Elmer Bischoff ©1955, Oil on canvas Thiebaud notes: “You can almost feel, since it’s a library, that it’s a very quiet place. Beautiful light coming in from several directions. There is a nice color relationship between the green and the little tiny bit of orange shadow over her sweater. But it’s also a very good geometric abstraction: the way those horizontals and verticals work and that terrific angle. This is really beautiful — the way this pattern of light coming down from the top and across in a nice L-shape forms one illumination.”
Jockey James Weeks ©1962, Tempera on Board Thiebaud: “Isn’t that sweet? This marvelous intuitive placement where this little white structure holds the whole thing beautifully centered. His paintings are normally big – or the ones I knew him for. He went back East at one point, back to Boston. But he was here, it seems to me, with some power and some effect.”
Scéne due rue (Street Scene) Pablo Picasso ©1900, Oil on Canvas Note: Picasso reused a canvas for this painting. Just beneath the surface is a cancan scene. Thiebaud: “Well, he sure settled that down. His mother must’ve been overseeing it. He’s such a strange fellow but this feels so authentic and so real. I’ve had a long, long association with it. I think I made some drawings of it.”
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And while it’s fun to return to old haunts when going back to a former home, the lure of discovering something new can be even more enticing. With a bit of pre-trip research, I discovered the San Francisco School of Needlework and Design, a non-profit organization devoted to preserving and promoting the traditions of hand embroidery and bringing a modern creativity to an ancient art form.
Lucy and Annalee of the SF School of Needlework and Design
Conveniently located on the north side of Union Square, I was warmly welcomed by Program Director, Lucy Barter and Director of Community Engagement, Annalee Levin, who shared the wide scope of what SF SNAD offers: classes, lectures, exhibitions, an extensive library, a shop with supplies, and free weekly stitch-ins that are open to all). It’s an enviable resource; be sure to check their events calendar and stop in the next time you’re in the Bay Area.
SNAD’s library contains over 3000 titles, including an antiquarian collection.
And, if you are an embroiderer, consider contributing to their ongoing “World’s Longest Band Sampler Project”. Full information on their website.
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Lastly, a hearty thanks to those of you who have been hanging in with me (and the octopus) for the past weeks. Thousands of stitches later, it’s finally finished.
Here’s a taste of how far we’ve come.
January 8, 2019, in process, Silk thread on raw silk
Caught Red-Handed ©2019 Elizabeth Fram, 18 x 24 inches, Stitched-resist dye and embroidery on silk
Caught Red-Handed, detail ©2019 Elizabeth Fram, Stitched-resist dye and embroidery on silk
And now, I’m ready to move on.
More from San Francisco next week.
The octopus is absolutely gorgeous!
I enjoyed the first sampling of your cool experiences in SF and look forward to next week’s post.
Thanks Leslie! SF never disappoints!
Your octopus is just beautiful. Both Brad and I are really drawn to the colors, the design, and the subject.. You know I have always loved sea creatures and find them fascinating.We are going to be in San Francisco at the end of the month for a wedding and will be sure to stop in at the school of needlework and design.
Thanks Ellen! Have you read The Soul of an Octopus? You would love it. Have fun in SF & let me know after you drop by SF SNAD – lovely people and great resource! Appreciate hearing from you.
Your Octopus is stupendous! I especially love the angled basketweave you used for background.
I’ve been reading your blog posts for several months now. Most blogs don’t keep me captivated that long. Thank you for all of the down to earth ways that you share ❤️
This comment makes my day, Joan! Thanks for following along with me – and for the kind words about the octopus.
The movement you captured with those stitches is mesmerizing.
Thanks Margaret! It was very rhythmic (and fun) to work on.
Always a good read! Nice to learn about Thiebaud -can see his influence in your work.
Your octopus is fantastic, I love it! Your stitched shading is amazing. It is cool to have the dyed fabric colors sneak though – just enough to tie it together. I love everything about it!
There was a lot learned with this one. In many ways the dyed background is the cornerstone. Thanks the supportive feedback & for weighing in!
Amazing work Elizabeth. The Octopus is magical. The stitches you used are perfect in forming him/her. I love this piece of work. Great job !
Such kind words – thank you Nancy!
The finished octopus is fabulous. What a journey?
You said it – what a journey! Lots learned along the way.
Always enjoy your posts and seeing your current work. Your Octopus is amazing. Thank you for introducing me to another artist and his art.
Thanks Donna ; I’m so glad you are interested in Wayne Thiebaud.