As in “Coloma Ridge.” Thiebaud loves corners, and plunges unabashedly from the upper left to the lower right. The landscape cascading down the top of the ridge is representational, if stylized in the Thiebaudian manner, but then the sliced-off cliff settles into straight abstraction. He keeps it all in one design by counterchange (the lower left is dark with lights in it; the upper right is light with darks in it, especially those unlikely but happily linking blue shadows), and by the many and varied repetitions of swoopy diagonals. Not merely an audacious image, but a very sound composition.