توم [وسّلمنّ] (1931-2004)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail1.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail2.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail3.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail4.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail5.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail6.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail7.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail8.jpg)
![TOM WESSELMANN - Smoker No. 21 <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>](/Art_Images/Large/tom_wesselmann_smoker_no._21_37613.c_detail9.jpg)
الاصل
تركة الفنانمعرض روبرت ميلر، نيويورك
مقتنيات خاصة، اليابان، تم اقتناؤها من المذكور أعلاه، 2006
مجموعة خاصة من يوساكو مايزاوا، اليابان، تم اقتناؤها مما سبق، 2012
سوذبيز نيويورك: البيع المسائي للفن المعاصر، 18 مايو 2017، القطعة 28
مجموعة خاصة، تم الحصول عليها من البيع أعلاه
كريستيز لندن: المزاد المسائي لدار كريستيز لندن: المزاد المسائي للقرن العشرين/الحادي والعشرين، الثلاثاء، 28 يونيو 2022، القطعة 73
هيذر جيمس للفنون الجميلة
مجموعة خاصة، تم اقتناؤها من المجموعة المذكورة أعلاه
معرض
نيويورك، معرض سيدني جانيس، معرض سيدني جانيس، الرسم الجديد... اكثر...ق بواسطة توم فيسيلمان، أبريل-مايو 1976، رقم 9... اقل...
التاريخ
بعد أن أقحم نفسه عن غير قصد في محادثة فن البوب مع سلسلته العارية الأمريكية العظيمة ، أمضى توم ويسلمان بقية حياته المهنية موضحا أن دافعه لم يكن التركيز بشكل مفرط على موضوع ما أو توليد تعليق اجتماعي ولكن بدلا من ذلك ، لإعطاء شكل لما جعله أكثر جمالا وإثارة. أثبتت سلسلة الفم غير المجسدة لعام 1965 أن الصورة لا يجب أن تعتمد على عناصر غريبة لتوصيل المعنى. لكن أدائه التالي مع سلسلة Smoker وجاذبيتها المغرية والصنمية هي التي رفعت مكانته بين sybarites الحقيقيين في كل مكان. بصرف النظر عن إدراك التدخين على أنه رائع وأنيق ، فإن لوحة مثل Smoker # 21 هي الاحتفال البارع بقدرات Wesselmann كرسام. بإغراء الدخان المتموج ، بذل Wesselmann جهودا كبيرة لتصوير حركاته المتعرجة بدقة ومراقبة فترات التوقف اللحظية التي زادت من تقديره لطبيعته الحسية. مثل جميع الأعمال الفنية المذهلة ل Wesselmann ، يتمتع Smoker # 21 بحضور قيادي لمذبح. تم إنتاجه خلال ساعات طويلة في الاستوديو المثير للإعجاب في مانهاتن في ميدان كوبر ، والنتيجة هي ديناميكية قائظة - مثيرة للذكريات ، حسية ، مغرية ، أنيقة ، فاتنة ، وربما حتى شريرة - لوحة تتباهى بتفوقه الرسومي وواقعيته القوية المصقولة بذوقه الجنسي الحاصل على براءة اختراع.
مصدر الصور
توسع توم ويسلمان في نجاح كتابه Great American Nudes من خلال التركيز على السمات الفريدة لموضوعاته وبدأ في رسم سلسلة Mouth الخاصة به في عام 1965. في عام 1967 ، توقفت صديقة ويسلمان بيغي سارنو لتدخين سيجارة أثناء عرض الأزياء لسلسلة فم ويسلمان ، مما ألهم لوحاته المدخنة. كانت همسات الدخان صعبة في الرسم وتطلبت من Wesselmann استخدام الصور كمواد مصدر لالتقاط طبيعة الدخان سريعة الزوال بشكل صحيح. تظهر الصور هنا ويسلمان وهو يصور صديقه ، كاتب السيناريو دانييل طومسون ، وهي تقف لبعض صور مصدر فيسيلمان.
أفضل النتائج في المزاد
![“Great American Nude no. 48” (1963) sold for $10,681,000. زيت وكولاج على قماش، أكريليك، وكولاج على متن الطائرة، رادياتير مطلي بالمينا وتجميع، 84 × 106 بوصة. بيعت في دار سوذبيز نيويورك: 14 مايو 2008.](https://www.heatherjames.com/wp-content/uploads/2021/12/Wesselmann_AuctionRecord1.jpg)
"Great American Nude No. 48" (1963) بيعت مقابل 10,681,000 دولار.
![“Smoker #9” (1973) sold for $6,761,000. أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.](https://www.heatherjames.com/wp-content/uploads/2023/01/Wesselmann37613_comp1.jpg)
"المدخن # 9" (1973) بيعت مقابل 6،761،000 دولار.
![“Smoker #17” (1973) sold for $5,864,000. زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.](https://www.heatherjames.com/wp-content/uploads/2023/01/Wesselmann37613_comp2.jpg)
"المدخن # 17" (1973) بيعت مقابل 5،864،000 دولار.
لوحات مماثلة تباع في مزاد علني
![“Smoker #9” (1973) sold for $6,761,000. أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.](https://www.heatherjames.com/wp-content/uploads/2023/01/Wesselmann37613_comp1.jpg)
"المدخن # 9" (1973) بيعت مقابل 6،761،000 دولار.
![“Smoker #17” (1973) sold for $5,864,000. زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.](https://www.heatherjames.com/wp-content/uploads/2023/01/Wesselmann37613_comp2.jpg)
"المدخن # 17" (1973) بيعت مقابل 5،864،000 دولار.
![Smoker #5 (Mouth #19) (1969) sold for $4,703,900. زيت على قماش على شكل ، 96 7/8 × 66 1/2 بوصة. يباع في سوذبيز لندن: 08 مارس 2017.](https://www.heatherjames.com/wp-content/uploads/2023/01/Wesselmann37613_comp3.jpg)
المدخن # 5 (الفم # 19) (1969) بيعت مقابل 4،703،900 دولار.
لوحات في مجموعات المتحف
متحف الفن الحديث، نيويورك
معهد مينيابوليس للفنون
متحف دالاس للفنون
المتحف العالي للفنون ، جورجيا
متحف كريستال بريدجز للفن الأمريكي ، أركنساس
متحف كرانبروك للفنون ، ميشيغان
ناسجونالموسيت، النرويج
متحف محافظة توياما للفنون والتصميم ، اليابان
المصادقه
تمت الموافقة على إدراج Smoker # 21 في الكتالوج القادم لأعمال Tom Wesselmann الفنية من قبل لجنة Wesselmann التابعة لمعهد Wildenstein Plattner.
معرض الصور
موارد إضافية
الاستفسار
أعمال أخرى لتوم ويسلمان
قد تحب أيضا