After visiting with Wayne Thiebaud in his studio, a one-storey metal building about a kilometre from the California State Capitol, I seized upon his painting from 1969 called Peking Ducks in Thiebaud’s recent Rizzoli monograph. The artist had directed me to it, saying that “a great number of things [in the book] haven’t been seen before”, and I had never seen Peking Ducks.During the visit, Thiebaud told me about his relationship with Willem de Kooning. In 1956, Thiebaud took a…
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