استعلمتاريخمصدر الصورسجلات المزادمقارنات المزادمجموعات المتحفمعرض الصورمصادر إضافيةالمصادقهأعمال مماثلة
العودة

توم [وسّلمنّ] (1931-2004)

الفنان بيو الاستفسارحميل PDF
 
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>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. 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>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. 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>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. 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>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. 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>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. 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>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. 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>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. 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>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. 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>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. 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>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.
مدخن # 211975 74 1/2 × 67 1/2 بوصة. (189.23 × 171.45 سم) زيت على قماش على شكل
العودة
الاستفسار

"كنت مفتونا بالدخان واقتربت من الفم. لم أبدأ لوحات الفم لتكون مثيرة. لقد بدأتهم ليكونوا مجرد فم ، هذا كل شيء." - توم ويسلمان

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.

توم ويسلمان مع زوجته كلير و "Great American Nude #37" قيد التنفيذ ، 1962

توم ويسلمان مع زوجته كلير و "Great American Nude #37" قيد التنفيذ ، 1962

توم ويسلمان في الاستوديو الخاص به في 175 شارع بليكر ، نيويورك ، 1961

توم ويسلمان في الاستوديو الخاص به في 175 شارع بليكر ، نيويورك ، 1961

مصدر الصور

Wesselmann المدخن 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.

"أجد أحيانا أنني متحمس جدا للعمل ، خاصة عند بدء أفكار جديدة. أشعر بالإثارة لدرجة أنني أشعر بعدم الارتياح. يبدو الأمر خطيرا تقريبا ، كما لو كنت أغازل شيئا خطيرا." - توم ويسلمان

أفضل النتائج في المزاد

زيت وكولاج على قماش، أكريليك، وكولاج على متن الطائرة، رادياتير مطلي بالمينا وتجميع، 84 × 106 بوصة. بيعت في دار سوذبيز نيويورك: 14 مايو 2008.

"Great American Nude No. 48" (1963) بيعت مقابل 10,681,000 دولار.

زيت وكولاج على قماش، أكريليك، وكولاج على متن الطائرة، رادياتير مطلي بالمينا وتجميع، 84 × 106 بوصة. بيعت في دار سوذبيز نيويورك: 14 مايو 2008.
أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.

"المدخن # 9" (1973) بيعت مقابل 6،761،000 دولار.

أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.
زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.

"المدخن # 17" (1973) بيعت مقابل 5،864،000 دولار.

زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.

لوحات مماثلة تباع في مزاد علني

أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.

"المدخن # 9" (1973) بيعت مقابل 6،761،000 دولار.

أكريليك على كتان ، 83 × 89 1/2 بوصة. تباع في كريستيز نيويورك: 13 مايو 2008.
زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.

"المدخن # 17" (1973) بيعت مقابل 5،864،000 دولار.

زيت على قماش على شكل قماش، 96 × 131 بوصة. يباع في دار سوذبيز نيويورك: 15 مايو 2007.
زيت على قماش على شكل ، 96 7/8 × 66 1/2 بوصة. يباع في سوذبيز لندن: 08 مارس 2017.

المدخن # 5 (الفم # 19) (1969) بيعت مقابل 4،703،900 دولار.

زيت على قماش على شكل ، 96 7/8 × 66 1/2 بوصة. يباع في سوذبيز لندن: 08 مارس 2017.

لوحات في مجموعات المتحف

"مدخن ، 1 (فم ، 12)" (1967) زيت على قماش ، 108 7/8 × 85 بوصة.

متحف الفن الحديث، نيويورك

"مدخن ، 1 (فم ، 12)" (1967) زيت على قماش ، 108 7/8 × 85 بوصة.
"الفم # 10" (1967) ، زيت على قماش ، 119 × 106 1/2 بوصة.

معهد مينيابوليس للفنون

"الفم # 10" (1967) ، زيت على قماش ، 119 × 106 1/2 بوصة.
"الفم # 11" (1967) ، زيت على قماش ، 68 × 152 بوصة.

متحف دالاس للفنون

"الفم # 11" (1967) ، زيت على قماش ، 68 × 152 بوصة.
"الفم # 15" (1968) ، زيت على قماش ، 68 × 91 بوصة.

المتحف العالي للفنون ، جورجيا

"الفم # 15" (1968) ، زيت على قماش ، 68 × 91 بوصة.
"المدخن # 9" (1973) أكريليك على الكتان ، 83 × 89 1/2 بوصة.

متحف كريستال بريدجز للفن الأمريكي ، أركنساس

"المدخن # 9" (1973) أكريليك على الكتان ، 83 × 89 1/2 بوصة.
"المدخن # 18" (1975) ، زيت على قماش ، 89 3/4 × 91 3/4 بوصة.

متحف كرانبروك للفنون ، ميشيغان

"المدخن # 18" (1975) ، زيت على قماش ، 89 3/4 × 91 3/4 بوصة.
"المدخن # 24" (1976) ، زيت على قماش ، 80 11/16 × 79 1/2 بوصة.

ناسجونالموسيت، النرويج

"المدخن # 24" (1976) ، زيت على قماش ، 80 11/16 × 79 1/2 بوصة.
"المدخن # 26" (1978) ، زيت على قماش ، 96 × 106 بوصة.

متحف محافظة توياما للفنون والتصميم ، اليابان

"المدخن # 26" (1978) ، زيت على قماش ، 96 × 106 بوصة.
"أنا لا أصور العراة من أي نوايا سوسيولوجية أو ثقافية أو عاطفية. نيتي واحدة هي دائما إيجاد طرق جديدة لجعل لوحات مثيرة باستخدام حالة عارية التقليدية." – توم Wesselmann

المصادقه

تمت الموافقة على إدراج Smoker # 21 في الكتالوج القادم لأعمال Tom Wesselmann الفنية من قبل لجنة Wesselmann التابعة لمعهد Wildenstein Plattner.

Wesselmann37613_CR

معرض الصور

  • Wesselmann37613_gallery1
  • Wesselmann37613_gallery3
  • Wesselmann37613_gallery4
  • Wesselmann37613_gallery5
  • Wesselmann37613_gallery6
  • Wesselmann37613_gallery7
  • Wesselmann37613_gallery8
  • Wesselmann37613_gallery9
  • Wesselmann37613_gallery10
  • Wesselmann37613_gallery1
  • Wesselmann37613_gallery3
  • Wesselmann37613_gallery4
  • Wesselmann37613_gallery5
  • Wesselmann37613_gallery6
  • Wesselmann37613_gallery7
  • Wesselmann37613_gallery8
  • Wesselmann37613_gallery9
  • Wesselmann37613_gallery10

موارد إضافية

جامع كما موسى: "تلك هي شفتي الحمراء الكبيرة"

جامع كما موسى: "تلك هي شفتي الحمراء الكبيرة"

5 أشياء تحبها في توم ويسلمان

5 أشياء تحبها في توم ويسلمان

أشهر فنان بوب لا تعرفه

أشهر فنان بوب لا تعرفه

مجموعة كوتش × توم ويسلمان

مجموعة كوتش × توم ويسلمان

الاستفسار

الاستعلام - الفن واحد

أعمال أخرى لتوم ويسلمان

قد تحب أيضا