לבררהיסטוריהתמונות מקוררשומות מכירה פומביתהשוואות בין מכירות פומביותאוספי המוזיאוןגלריית תמונותמשאבים נוספיםאימותעבודות דומות
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טום וסלמן(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.
מעשן #21197574 1/2 x 67 1/2 אינץ ' (189.23 x 171.45 ס"מ) שמן על בד מעוצב
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לברר

"הסתקרנתי מעשן והתקרבתי לפה. לא התחלתי את ציורי הפה להיות ארוטיים. התחלתי אותם להיות רק פה, זה הכל." – טום וסלמן

היסטוריה

לאחר שהכניס את עצמו מבלי משים לשיחת הפופ ארט עם סדרת העירום האמריקאית הגדולה שלו, טום ווסלמן בילה את שארית הקריירה שלו בהסבר שהמוטיבציה שלו לא הייתה להתמקד יתר על המידה בנושא או ליצור פרשנות חברתית, אלא במקום זאת, לתת צורה למה שהגדיר אותו הכי יפה ומרגש. סדרת הפה המפורקת שלו מ-1965 קבעה שדימוי לא צריך להסתמך על אלמנטים זרים כדי לתקשר משמעות. אבל היו אלה הופעות ההמשך שלו עם הסדרה "מעשן" והפיתוי המפתה והפטיש שלה שהעלו את מעמדו בקרב סיבריטים אמיתיים בכל מקום. מלבד תפיסת העישון כמגניב ושיקי, ציור כמו Smoker #21 הוא חגיגה מושלמת של יכולותיו של וסלמן כצייר. ווסלמן, שהתפתה לעשן הגלי, הקפיד לתאר במדויק את תנועותיו המרושעות ולהתבונן בהפסקות הרגעיות שהגבירו את הערכתו לטבעו החושני. כמו כל יצירות האמנות המופלאות של וסלמן, ל-Smoker #21 יש נוכחות שולטת של מזבח. הוא הופק במשך שעות ארוכות בסטודיו המרשים שלו במנהטן בקופר סקוור, והתוצאה היא דינמיות לוהטת — מעוררת השראה, חושנית, מפתה, מלוטשת, עסיסית ואולי אפילו מרושעת — ציור שמתהדר בעליונותו הגרפית ובריאליזם העוצמתי שלו, המעוטר בכשרון הסקס אפיל הפטנטי שלו.

טום וסלמן עם אשתו, קלייר, ו"עירום אמריקאי גדול #37", 1962

טום וסלמן עם אשתו, קלייר, ו"עירום אמריקאי גדול #37", 1962

טום וסלמן בסטודיו שלו ברחוב בליקר 175, ניו יורק, 1961

טום וסלמן בסטודיו שלו ברחוב בליקר 175, ניו יורק, 1961

תמונות מקור

תמונות מקור של מעשן ווסלמן

טום וסלמן הרחיב על ההצלחה של העירומים האמריקאים הגדולים שלו על ידי התמקדות במאפיינים ייחודיים של נושאיו והחל לצייר את סדרת הפה שלו בשנת 1965. ב-1967, חברתו של וסלמן, פגי סרנו, השתהתה לסיגריה בזמן שדגמנה לסדרת "הפה של ווסלמן", בהשראת ציורי המעשן שלו. פיסות העשן היו מאתגרות לצביעה ודרשו מווסלמן להשתמש בתצלומים כחומר מקור כדי ללכוד כראוי את אופיו הארעי של העשן. התמונות כאן מראות את וסלמן מצלם את חברתו, התסריטאית דניל תומפסון, כשהיא מתחזה לכמה מתמונות המקור של וסלמן.

"אני מוצאת שלפעמים אני כל כך מתרגשת מעבודה, במיוחד כשאני מתחילה רעיונות חדשים; אני כל כך מתרגשת שאני מרגישה לא בנוח. זה כמעט מרגיש מסוכן, כאילו אני מפלרטט עם משהו מסוכן." – טום וסלמן

תוצאות מובילות במכירה פומבית

שמן וקולאז' על בד, אקריליק וקולאז' על הסיפון, רדיאטור אמייל ואסמבלאז', 84x106 אינץ'. נמכר בסות'ביס ניו יורק: 14 במאי 2008.

"עירום אמריקאי גדול מס' 48" (1963) נמכר ב-10,681,000 דולר.

שמן וקולאז' על בד, אקריליק וקולאז' על הסיפון, רדיאטור אמייל ואסמבלאז', 84x106 אינץ'. נמכר בסות'ביס ניו יורק: 14 במאי 2008.
אקריליק על פשתן, 200X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 13 במאי 2008.

"מעשן #9" (1973) נמכר ב-6,761,000 דולר.

אקריליק על פשתן, 200X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 13 במאי 2008.
שמן על בד בצורת, 96 x 131 אינץ'. נמכר בסות'ביס ניו יורק: 15 במאי 2007.

"מעשן #17" (1973) נמכר ב-5,864,000 דולר.

שמן על בד בצורת, 96 x 131 אינץ'. נמכר בסות'ביס ניו יורק: 15 במאי 2007.

ציורים דומים שנמכרו במכירה פומבית

אקריליק על פשתן, 200X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 13 במאי 2008.

"מעשן #9" (1973) נמכר ב-6,761,000 דולר.

אקריליק על פשתן, 200X200 ס"מ. נמכר בכריסטי'ס ניו יורק: 13 במאי 2008.
שמן על בד בצורת, 96 x 131 אינץ'. נמכר בסות'ביס ניו יורק: 15 במאי 2007.

"מעשן #17" (1973) נמכר ב-5,864,000 דולר.

שמן על בד בצורת, 96 x 131 אינץ'. נמכר בסות'ביס ניו יורק: 15 במאי 2007.
שמן על בד בצורתו, 96 7/8 x 66 1/2 אינץ'. נמכר בסות'ביס לונדון: 08 במרץ 2017.

מעשן #5 (פה #19) (1969) נמכר ב -4,703,900 דולר.

שמן על בד בצורתו, 96 7/8 x 66 1/2 אינץ'. נמכר בסות'ביס לונדון: 08 במרץ 2017.

ציורים באוספי מוזיאונים

"מעשן, 1 (פה, 12)" (1967) שמן על בד, 108 7/8 x 85 אינץ '.

המוזיאון לאמנות מודרנית, ניו יורק

"מעשן, 1 (פה, 12)" (1967) שמן על בד, 108 7/8 x 85 אינץ '.
"פה #10" (1967), שמן על בד, 119 x 106 1/2 אינץ '.

מכון מיניאפוליס לאמנות

"פה #10" (1967), שמן על בד, 119 x 106 1/2 אינץ '.
"פה #11" (1967), שמן על בד, 68 x 152 אינץ '.

מוזיאון דאלאס לאמנות

"פה #11" (1967), שמן על בד, 68 x 152 אינץ '.
"פה #15" (1968), שמן על בד, 68 x 91 אינץ '.

המוזיאון הגבוה לאמנות, גאורגיה

"פה #15" (1968), שמן על בד, 68 x 91 אינץ '.
"מעשן #9" (1973) אקריליק על פשתן, 83 x 89 1/2 אינץ '.

מוזיאון קריסטל ברידג'ס לאמנות אמריקאית, ארקנסו

"מעשן #9" (1973) אקריליק על פשתן, 83 x 89 1/2 אינץ '.
"מעשן #18" (1975), שמן על בד, 89 3/4 x 91 3/4 אינץ '.

מוזיאון קרנברוק לאמנות, מישיגן

"מעשן #18" (1975), שמן על בד, 89 3/4 x 91 3/4 אינץ '.
"מעשן #24" (1976), שמן על בד, 80 11/16 x 79 1/2 אינץ '.

נסיונלמוסיט, נורווגיה

"מעשן #24" (1976), שמן על בד, 80 11/16 x 79 1/2 אינץ '.
"מעשן #26" (1978), שמן על בד, 96 x 106 אינץ '.

מוזיאון טויאמה לאמנות ועיצוב, יפן

"מעשן #26" (1978), שמן על בד, 96 x 106 אינץ '.
"אני לא מתאר עירום מכל כוונה סוציולוגית, תרבותית או רגשית. הכוונה היחידה שלי היא תמיד למצוא דרכים חדשות ליצור ציורים מרגשים תוך שימוש במצב העירום המסורתי." – טום ווסלמן

אימות

"מעשן #21 " אושרה להכללה בקטלוג הקרוב של יצירותיו של טום וסלמן על ידי ועדת ווסלמן של מכון וילדנשטיין פלטנר.

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גלריית תמונות

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משאבים נוספים

האספן כמוזה: 'אלה השפתיים האדומות הגדולות שלי'

האספן כמוזה: 'אלה השפתיים האדומות הגדולות שלי'

5 דברים לאהוב על טום וסלמן

5 דברים לאהוב על טום וסלמן

אמן הפופ המפורסם ביותר שאתה לא מכיר

אמן הפופ המפורסם ביותר שאתה לא מכיר

אוסף המאמן x טום ווסלמן

אוסף המאמן x טום ווסלמן

לברר

בקשה - סינגל אמנותי

עבודות נוספות של טום וסלמן

אתה יכול גם לאהוב