when did wayne thiebaud die
From 1949 to 1950, Thiebaud studied at San Jose State University and, from 1950 to 1953, at California State University in Sacramento. He had his first solo exhibition at the Crocker Art Gallery, Sacramento, in 1951. From 1956 to 1957, the artist lived briefly in New York City, where he became close friends with the Abstract Expressionist Willem de Kooning. After teaching for nine years as a visiting professor at renowned universities around the country, he accepted a professorship at the University of California at Davis in 1960. 1962 marked the first exhibition of his work in New York, where he showed at the Allan Stone Gallery, as well as his first one-person museum show at the De Young Museum, San Francisco.
Thiebaud has been associated with Pop Art, yet his early work slightly predates that of the classic pop artists, suggesting that he may in fact have had a great influence on the movement. His work possesses a nostalgic sentimentality that Pop Art traditionally lacks, and owes more to Thiebaud’s study of historical still life masters than to contemporary art movements. The true to life representation in his work marks him as a predecessor of photorealism. Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included. Objects are simplified into basic units, but appear varied using seemingly minimal means. Giorgio Morandi, whose contemplative, palpable and delicate works share many characteristics with those of Thiebaud, is commonly cited as an artistic influence.
In 1956, Thiebaud moved to New York, where he was in the midst of the Abstract Expressionist movement. He was particularly interested in work by Willem de Kooning and Franz Kline, but fashioned his own approach to art, adapting the thick pigments used by the abstract expressionists to his own subjects and style. Having returned to California, by the early 1960s Thiebaud’s best-known works, colloquial paintings of food and consumer goods, had emerged in mature form. Depictions of everyday items in American life—sandwiches, gumball machines, jukeboxes, toys, cafeteria-type foods, and cakes and pies—reflect a turn toward representational painting. These deadpan still life subjects are set against light backgrounds, often white, with the objects rendered in lush, shiny oil paints. The thick, insistent textures and the playful colors Thiebaud uses for his commonplace objects and their enframing shadows challenge our perceptions of art subjects and meaning. They are still life paintings, but with a difference. Although his works are often classified as part of the American pop art movement, Thiebaud also painted portraits, but even these retained his signature broad treatment of light and shadow, thick paint, and bright Kool-Aid colors.
Born in Arizona in 1920, Wayne Thiebaud’s interest in art was inspired initially by cartoons and comic strips such as George Herrman’s Krazy Kat. The teenage Thiebaud established himself as a cartoonist, working for a brief time as an animator for the Walt Disney studios and drawing a regular comic strip during a World War II stint in the Air Force. He also worked as a poster designer and commercial artist in both California and New York before deciding to become a painter. Thiebaud’s formal art training was provided under the GI Bill at San José State College and the California State College in Sacramento. Thiebaud received a teaching appointment at Sacramento Junior College in 1951, while still in graduate school, and has since enjoyed a long and distinguished teaching career.
Thiebaud was born to Morton and Alice Thiebaud in Mesa, Arizona.  They moved a year later to Southern California where the family lived for most of Thiebaud’s childhood until he graduated from high school in Long Beach, California.  Thiebaud and his family were members of The Church of Jesus Christ of Latter-day Saints and his father was bishop when he was a teenager.  Morton Thiebaud was a Ford mechanic, foreman at Gold Medal Creamery, traffic safety supervisor, and real estate agent. 
In 1963, he turned increasingly to figure painting: wooden and rigid, with each detail sharply emphasized. In 1964, he made his first prints at Crown Point Press, and has continued to make prints throughout his career. In 1967, his work was shown at the Biennale Internationale.
In the mid-1960s, the artist made his first prints at Crown Point Press – a practice he would continue for the rest of his career. As a reaction perhaps to other artists beginning to adopt Pop Art motifs, Thiebaud turned first to portraiture and then to landscapes. Both display a characteristic style; his portraits are meticulously detailed but with a detached sense of solidity that renders his subjects more like objects than people, while the dramatic perspectives of his landscapes are such that they read almost as flat arrangements of color and form.
Thiebaud’s transition from commercial to fine art is an experience he shares with other post-war artists such as Willem de Kooning and Warhol. Speaking of his regard for commercial art and artists, he says, “Those wonderful people showed me what to do – sign painters, women’s fashion illustrators. There’s a lot of craft in it, and that’s admirable. They would tell you very quickly: ‘You’ve got to shape up! You can’t do that lettering like that!’ . So I’d go back and do it again, do it again, do it again.”
1980s: Wayne Thiebaud in his studio. His paintings are noted for their hyper realism, and have been compared to Edward Hopper’s work, another artist who was fascinated with mundane themes from everyday American life.
As other artists adopted the now accepted pop art motifs, Thiebaud turned increasingly to the representation of the human figure, rendered in meticulous detail, but with a dispassionate sense of weight and solidity that freed the painted figure from any implication of sentimentality or superficial appeal. In the mid-’60s, Thiebaud also took up printmaking, a practice he has pursued alongside his painting ever since. In the 1970s he carried on with his examination of everyday objects, including shoes and cosmetics, while painting his first major landscapes, dizzying street scenes inspired by the vertiginous topography of San Francisco. He continued his landscape series for the next 20 years, finding haunting beauty in apparently commonplace scenes, rendered with hyper-realistic detail.