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TOM WESSELMANN (1931-2004)

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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.
Fumoir n°21197574 1/2 x 67 1/2 po.(189.23 x 171.45 cm) huile sur toile façonnée
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"J'étais intrigué par la fumée et l'approche de la bouche. Je n'ai pas commencé les peintures de bouche pour être érotique. Je les ai commencées pour être une bouche, c'est tout." - Tom Wesselmann

Histoire

S'étant involontairement inséré dans la conversation sur le Pop Art avec son Grands Nus AméricainsTom Wesselmann a passé le reste de sa carrière à expliquer que sa motivation n'était pas de se concentrer excessivement sur un sujet ou de générer un commentaire social, mais plutôt de donner forme à ce qui le titillait le plus comme étant beau et excitant. Sa série desBouches désincarnées de 1965 a établi qu'une image n'avait pas besoin de s'appuyer sur des éléments étrangers pour communiquer un sens. Mais ce sont ses performances ultérieures avec la sérieSmoker et son allure séduisante et fétichiste qui ont élevé son statut parmi les véritables sybarites du monde entier. Outre le fait que fumer est perçu comme cool et chic, une peinture telle que Smoker #21 est la célébration consommée des capacités de Wesselmann en tant que peintre. Séduit par la fumée ondulante, Wesselmann s'est efforcé de décrire avec précision ses mouvements sinueux et d'observer les pauses momentanées qui lui ont permis d'apprécier davantage sa nature sensuelle. Comme toutes les œuvres de Wesselmann à l'échelle prodigieuse, Smoker #21 a la présence imposante d'un retable. Elle a été réalisée pendant de longues heures dans son impressionnant studio de Manhattan, à Cooper Square, et le résultat est d'un dynamisme sulfureux - évocateur, sensuel, séduisant, élégant, luxuriant et peut-être même sinistre - une peinture qui affiche sa suprématie graphique et son réalisme puissant, vernis avec son flair sex-appeal breveté.

Tom Wesselmann avec sa femme, Claire, et l'œuvre en cours de réalisation "Great American Nude #37", 1962.

Tom Wesselmann avec sa femme, Claire, et l'œuvre en cours de réalisation "Great American Nude #37", 1962.

Tom Wesselmann dans son studio au 175 Bleecker Street, New York, 1961

Tom Wesselmann dans son studio au 175 Bleecker Street, New York, 1961

Source Images

Fumoir Wesselmann Source Images

Tom Wesselmann s'est appuyé sur le succès de ses Grands nus américains en se concentrant sur les caractéristiques singulières de ses sujets et a commencé à peindre sa série debouches en 1965. En 1967, Peggy Sarno, une amie de Wesselmann, s'est arrêtée pour fumer une cigarette alors qu'elle posait pour la série des bouches de Wesselmann, ce qui lui a inspiré ses tableauxSmoker. Les chuchotements de la fumée étaient difficiles à peindre et Wesselmann a dû utiliser des photographies comme source d'inspiration pour saisir correctement la nature éphémère de la fumée. Les images ici montrent Wesselmann photographiant son amie, la scénariste Danièle Thompson, alors qu'elle posait pour certaines des images sources de Wesselmann.

"Je trouve que parfois, je suis tellement excité en travaillant, surtout quand je lance de nouvelles idées ; je suis tellement excité que je me sens mal à l'aise. Je me sens presque dangereux, comme si je flirtais avec quelque chose de dangereux." - Tom Wesselmann

Les meilleurs résultats aux enchères

Huile et collage sur toile, acrylique et collage sur carton, radiateur émaillé et assemblage, 84 x 106 in. Vendu à Sotheby's New York : 14 mai 2008.

Le "Grand nu américain no. 48" (1963) a été vendu pour 10 681 000 dollars.

Huile et collage sur toile, acrylique et collage sur carton, radiateur émaillé et assemblage, 84 x 106 in. Vendu à Sotheby's New York : 14 mai 2008.
Acrylique sur lin, 83 x 89 1/2 in. Vendu chez Christie's New York : 13 mai 2008.

"Smoker #9" (1973) vendu pour 6 761 000 $.

Acrylique sur lin, 83 x 89 1/2 in. Vendu chez Christie's New York : 13 mai 2008.
Huile sur toile façonnée, 96 x 131 in. Vendu à Sotheby's New York : 15 mai 2007.

"Smoker #17" (1973) vendu pour 5 864 000 $.

Huile sur toile façonnée, 96 x 131 in. Vendu à Sotheby's New York : 15 mai 2007.

Tableaux comparables vendus aux enchères

Acrylique sur lin, 83 x 89 1/2 in. Vendu chez Christie's New York : 13 mai 2008.

"Smoker #9" (1973) vendu pour 6 761 000 $.

Acrylique sur lin, 83 x 89 1/2 in. Vendu chez Christie's New York : 13 mai 2008.
Huile sur toile façonnée, 96 x 131 in. Vendu à Sotheby's New York : 15 mai 2007.

"Smoker #17" (1973) vendu pour 5 864 000 $.

Huile sur toile façonnée, 96 x 131 in. Vendu à Sotheby's New York : 15 mai 2007.
Huile sur toile façonnée, 96 7/8 x 66 1/2 in. Vendu chez Sotheby's Londres : 08 mars 2017.

Smoker #5 (Bouche #19) (1969) vendu pour 4 703 900 $.

Huile sur toile façonnée, 96 7/8 x 66 1/2 in. Vendu chez Sotheby's Londres : 08 mars 2017.

Peintures dans les collections des musées

"Smoker, 1 (Mouth, 12)" (1967) huile sur toile, 108 7/8 x 85 in.

Musée d'art moderne, New York

"Smoker, 1 (Mouth, 12)" (1967) huile sur toile, 108 7/8 x 85 in.
"Bouche #10" (1967), huile sur toile, 119 x 106 1/2 in.

Institut d'art de Minneapolis

"Bouche #10" (1967), huile sur toile, 119 x 106 1/2 in.
"Bouche #11" (1967), huile sur toile, 68 x 152 in.

Musée d'art de Dallas

"Bouche #11" (1967), huile sur toile, 68 x 152 in.
"Bouche #15" (1968), huile sur toile, 68 x 91 in.

High Museum of Art, Géorgie

"Bouche #15" (1968), huile sur toile, 68 x 91 in.
"Smoker #9" (1973) acrylique sur lin, 83 x 89 1/2 in.

Musée d'art américain Crystal Bridges, Arkansas

"Smoker #9" (1973) acrylique sur lin, 83 x 89 1/2 in.
"Smoker #18" (1975), huile sur toile, 89 3/4 x 91 3/4 in.

Musée d'art Cranbrook, Michigan

"Smoker #18" (1975), huile sur toile, 89 3/4 x 91 3/4 in.
"Smoker #24" (1976), huile sur toile, 80 11/16 x 79 1/2 in.

Nasjonalmuseet, Norvège

"Smoker #24" (1976), huile sur toile, 80 11/16 x 79 1/2 in.
"Smoker #26" (1978), huile sur toile, 96 x 106 in.

Musée préfectoral d'art et de design de Toyama, Japon

"Smoker #26" (1978), huile sur toile, 96 x 106 in.
"Je ne représente pas les nus à partir d'une quelconque intention sociologique, culturelle ou émotionnelle. Ma seule intention est de toujours trouver de nouvelles façons de faire des peintures passionnantes en utilisant la situation du nu traditionnel." - Tom Wesselmann

Authentification

Smoker #21 a été approuvé pour figurer dans le prochain catalogue raisonné des œuvres de Tom Wesselmann par le comité Wesselmann du Wildenstein Plattner Institute.

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Galerie d'images

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Ressources supplémentaires

Le collectionneur comme muse : "Ce sont mes grosses lèvres rouges".

Le collectionneur comme muse : "Ce sont mes grosses lèvres rouges".

5 choses à aimer chez Tom Wesselmann

5 choses à aimer chez Tom Wesselmann

L'artiste pop le plus célèbre que vous ne connaissez pas

L'artiste pop le plus célèbre que vous ne connaissez pas

La collection Coach x Tom Wesselmann

La collection Coach x Tom Wesselmann

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Demande de renseignements - Art Single

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