The Appetizing Art of Wayne Thiebaud at The Legion of Honor

“I believe very much in the tradition that art comes from art and nothing else” —Wayne Thiebaud

It’s hard to think of Wayne Thiebaud without recalling his lush paintings, poetically declaring their love for diner food across America in the 1960s. Milkshakes, sundaes overflowing in tall frosted glasses, coffee paired with pie. These are what Thiebaud paintings are made of, or so I thought. Wayne Thiebaud: Art Comes from Art, currently on view at the Legion of Honor, reveals a much deeper and more expansive narrative of this versatile artist’s long career.

Born in 1920, Thiebaud spent much of his life in Sacramento, California, and his career spanned six decades. As an artist, he would have wanted us to think that “art should transcend place.” Yet, his depictions of American life and culture are often playful giveaways to the world he saw. Steeped in Americana, Thiebaud’s work exists in dialogue with artists past and present.

A self-proclaimed “art thief,” he borrowed compositions and ideas from masters like Piet Mondrian to contemporaries such as Ellsworth Kelly and Richard Diebenkorn. Thiebaud passed away in 2021 at the age of 101, continuing to paint up until his death. His poignant Clown series offers a glimpse into his emotional world, especially following the loss of his wife and muse, Betty Jean Thiebaud, whose portrait greets visitors as they enter the exhibit.

The exhibit is carefully curated, with the DeYoung showcasing the works that inspired Thiebaud. Then, of course, there are the paintings themselves. The cake series could be dismissed as mere modern still lifes. But on closer inspection, plates hover on thin poles, salesgirls float weightless in their counters, and Thiebaud’s brushwork imbues the scenes with a sense of movement and energy that’s difficult to capture in reproductions. Thiebaud seamlessly blended the sociological with the surreal.

Large-scale portraits of people exude an uncomfortable voyeurism, their details so sharp they seem to pulse. The figures’ edges, marked by chromatic aberration reminiscent of old Life magazine photos, vibrate in their frames. His urban landscapes, with vertiginous lines, appear deceptively calming but reveal disturbing undercurrents. One composition, featuring a lone man dining at its bottom, evoked a sense of vertigo—both for the man’s apparent loneliness and the precarious edge of the abyss on which he unknowingly teeters.

Wayne Thiebaud: Art Comes from Art is a witty, diverse exploration of art thievery and invention. It is most certainly worth the visit. Be prepared to crave cake, pie, or ice cream afterward. You may also gain a deeper appreciation for the quiet artistry of a man who practiced his craft for six decades, engaging in a rich dialogue with other artists. The exhibit runs through August 17, 2025.