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טום וסלמן(1931-2004)

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Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper. Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.
חדר שינה ברונטית עם איריסים1988/2004105 3/4 x 164 5/8 אינץ'. (268.61 x 418.15 ס"מ) שמן על אלומיניום חתוך
מקור ומקור
גלריית רוברט מילר
אוסף פרטי, ניו יורק, 2004
תערוכה
ווסלמן, ט', אקווין, ס', מוזיאון מונטריאול לאמנויות יפות (2012). תום ווסלמן
מינכן: פרסטל
ניו יורק, גלריה רוברט מילר, טום ווסלמן: עירום שקיעה, 9 במרץ - 22 באפריל 2006 (חולה צבע)
רומא, Museo d'Arte Contemporanea Roma, טום ווסלמן, 8 ביוני - 18 בספטמבר 2005 (צבע, עמ' 174-75)
ספרות
ג'ון וילמרדינג, טום ווסלמן: קולו וחזונו (ניו יורק: הוצאת ריזולי הבינלאומית, 2008), עמ' 253 (צבע חולה, עמ' 248-49, כ"חדר השינה ברונטית w... עוד...אית'ה איריסים, 1988/04")
 
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"האתגר של אמן הוא תמיד למצוא את הדרך שלך לעשות משהו." – טום וסלמן

היסטוריה

טום וסלמן ייזכר ללא ספק כמי שקשר את הנושאים הארוטיים שלו לצבעי הדגל האמריקאי. אבל לווסלמן היו מתנות לא מבוטלות כשרטט, והקו היה עיסוקו העיקרי, תחילה כקריקטוריסט ואחר כך כמעריץ נלהב של מאטיס. העובדה שהוא גם היה חלוץ בשיטה של הפיכת רישומים לתבליטי קיר פלדה בחיתוך לייזר הוכיחה את עצמה כהתגלות. הוא החל להתמקד יותר ויותר ברישום לשם ציור, הקסים מכך שניתן להרים את המדיום החדש ולהחזיק אותו: "זה באמת כמו להיות מסוגל להרים ציור קו עדין מהנייר".

רישומי הפלדה גרמו להתרגשות ולבלבול בעולם האמנות. לאחר שרכש את אחת העבודות פורצות הדרך ב-1985, כתב מוזיאון ויטני לאמנות אמריקאית את וסלמן ותהה אם יש לקטלג אותה כרישום או כפסל. העבודה עוררה סערה כה רבה, שכאשר אריק פישל ביקר את וסלמן בסטודיו שלו וראה לראשונה עבודות בחיתוך פלדה, הוא נזכר שחש קנאה. הוא רצה לנסות את זה אבל לא העז. זה היה ברור: 'טום היה הבעלים של הטכניקה לחלוטין'.

וסלמן חייב חלק גדול מהטכניקה הזו לשיתוף הפעולה בן השנה שלו עם יצרן עבודות המתכת אלפרד ליפינקוט. יחד, בשנת 1984 הם חידדו שיטה לחיתוך הפלדה בלייזר שסיפקה את הדיוק הדרוש לו כדי להראות את הספונטניות של הרישומים שלו. ווסלמן כינה אותה "השנה הטובה ביותר בחיי", והתלהב מהתוצאות שמעולם לא השיג במלואן עם אלומיניום שדרש שכל צורה תיחתך ביד.  "ציפיתי כמה מרגש יהיה עבורי לקבל ציור בחזרה בפלדה. יכולתי להחזיק אותו בידיים. יכולתי להרים אותו לפי הקווים. . . זה היה כל כך מרגש. . . סוג של כמעט אקסטזה, בכל מקרה, אבל באמת היה משהו בעבודה החדשה שתפס אותי".

עוד
לברר
  • תום וסלמן, 1990 בקירוב

    תום וסלמן, 1990 בקירוב

  • אנרי מאטיס, "אודליסק", 1926

    אנרי מאטיס, "אודליסק", 1926

    שמן על בד, מוזיאון בולטימור לאמנות
  • "ציור הפוך: בלונדינית בחדר השינה עם אירוסים"

    "ציור הפוך: בלונדינית בחדר השינה עם אירוסים"

    פחם ופסטל על נייר, 65 x 94 1/2 אינץ'.
"המשימה העיקרית של האמנות שלי, בהתחלה, וממשיכה עדיין, היא להפוך את האמנות הפיגורטיבית למרגשת כמו אמנות מופשטת." – טום וסלמן

תובנות שוק

  • ווסלמןאמר
  • מאז 1976 צמח השוק של וסלמן עם תשואה שנתית של 5.6%.
  • חדר שינה ברונטית עם איריסים היא בין העבודות הגדולות ביותר של האמן לבוא על השוק
  • וסלמן הגה את היצירה הזו ב-1988 ומצא אותה ב-2004, רגע לפני מותו בדצמבר של אותה שנה - היא בין יצירותיו הגדולות האחרונות. 
  • הדמויות הנשיות של וסלמן הן בין הנושאים הנחשקים והמבוקשים ביותר שלו
  • יצירה זו נמצאת באותו אוסף פרטי מאז שהיא נוצרה.
לברר

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.

עבודות דומות שנמכרו במכירה פומבית

Alkyd על פלדה חתוכה, 68 x 80 אינץ '. נמכר בכריסטי'ס ניו יורק: 14 במאי 2021.

"טבע דומם עם ארבע ליזות" (1991) נמכר ב-2,070,000 דולר.

Alkyd על פלדה חתוכה, 68 x 80 אינץ '. נמכר בכריסטי'ס ניו יורק: 14 במאי 2021.
  • מדיום דומה, והיצירה שלנו יותר מכפליים מהגודל של זה
  • אמנם יש לו צבע, אבל אין לו את אותם דימויים נשיים כי הוא כל כך איקוני בתוך יצירתו של וסלמן
  • נמכר ביותר מ-2 מיליון דולר שזה 380 דולר לאינץ' מרובע, בעוד שחדר השינה ברונטית עם איריסים עולה רק 115 דולר לאינץ' מרובע, שזה 1/3 מהמחיר הכולל

אמייל על פלדה חתוכה בלייזר, 53.7 x 83.3 אינץ'. כריסטי'ס ניו יורק: 14 בנובמבר 2019.

"בלונדינית עם איריס" (1987) נמכר ב-399,000 דולר.

אמייל על פלדה חתוכה בלייזר, 53.7 x 83.3 אינץ'. כריסטי'ס ניו יורק: 14 בנובמבר 2019.
  • יצירת אמנות זו היא 1/3 מהגודל שלנו עם אותם דימויים
  • נמכר בנובמבר 2019 תמורת 399,000 דולר שהיה יותר מכפול מההערכה הגבוהה שלו בסך 180,000 דולר, עדות להתחזקותו הגוברת של השוק של וסלמן
פחם ופסטל על נייר, 65 x 94 1/2 אינץ '. נמכר בפיליפס לונדון: 13 בפברואר 2020.

"ציור הפוך: בלונדינית עם אירוסים" (1993) ב-489,428 דולר.

פחם ופסטל על נייר, 65 x 94 1/2 אינץ '. נמכר בפיליפס לונדון: 13 בפברואר 2020.
  • נושא דומה, אם כי רק עבודה על נייר וחצי מגודל היצירה שלנו
  • נמכר בכמעט חצי מיליון דולר בפברואר 2020

עבודות באוספי מוזיאונים

"נוף ים מספר 15" (1967), אקריליק צבוע בצורת תרמו, 65 x 45 אינץ '.

מוזיאון ויטני לאמנות, ניו יורק

"נוף ים מספר 15" (1967), אקריליק צבוע בצורת תרמו, 65 x 45 אינץ '.
"טבע דומם #12" (1962), אקריליק וקולאז' על בד, צילום ומתכת על סיבי עץ, 48x48 אינץ'.

מוזיאון סמית'סוניאן לאמנות אמריקאית, וושינגטון די.C.

"טבע דומם #12" (1962), אקריליק וקולאז' על בד, צילום ומתכת על סיבי עץ, 48x48 אינץ'.
"Cut-Out Nude" (1965), ויניל מודפס על מסך מנופץ, 8X16 אינץ'.

המכון לאמנות של שיקגו

"Cut-Out Nude" (1965), ויניל מודפס על מסך מנופץ, 8X16 אינץ'.

משאבים נוספים

גלו את התערוכה הרטרוספקטיבית 2014 במוזיאון דנבר לאמנות, מעבר לפופ ארט: רטרוספקטיבה של טום וסלמן

מעבר לפופ ארט

גלו את התערוכה הרטרוספקטיבית 2014 במוזיאון דנבר לאמנות, מעבר לפופ ארט: רטרוספקטיבה של טום וסלמן
קרא את הפרופיל של טום וסלמן בניו יורק טיימס לשנת 2016

אמן הפופ המפורסם ביותר שאתה לא מכיר

קרא את הפרופיל של טום וסלמן בניו יורק טיימס לשנת 2016
צפו בבתו של האמן, קייט וסלמן, דנה בחומרי המקור של העירום האמריקאי הגדול #53 בתכונה זו על ידי ה- BBC

העירום האמריקאי הגדול של טום ווסלמן #53

צפו בבתו של האמן, קייט וסלמן, דנה בחומרי המקור של העירום האמריקאי הגדול #53 בתכונה זו על ידי ה- BBC

לברר

בקשה - סינגל אמנותי

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