Cooper Union accepted him in 1956, and he continued his studies in New York. During a visit to the MoMA he was inspired by the Robert Motherwell painting Elegy to the Spanish Republic: “The first aesthetic experience… He felt a sensation of high visceral excitement in his stomach, and it seemed as though his eyes and stomach were directly connected”.
Wesselmann also admired the work ofWillem de Kooning, but he soon rejectedaction painting: “He realized he had to find his own passion he felt he had to deny to himself all that he loved in de Kooning, and go in as opposite a direction as possible.”
conference. This is instant history of art, a history of art that became so aware of itself as to make a leap that went beyond art itself”.
You have to know what your lookign for as an artist.
Pop art was very concerned with form.
Or it evolved to be come so.
Inspired by the Odalisques: reclining female nudes. Combined fascination with the nude to pop art images and symbolism. Nudes surrounded by flags stars, portraits of presidents and landscapes.
Wesselman. Concerned with collage and the human form. At first he sketched his nudes in full, the n he streamlined the process.
Strips of bacon.
Tom Wesselman studied his own process. He repeated the same collage layouts almost as prints.
Though the Pop Artists weren’t aware of eachother’s influence.
Tom Wesselman. You see evidence of Van Gogh and Matisse’s flowers. Pop artists used cut outs of kittens.
Peachy- colored forms of women and teeth and lips.
It’s amazing that old TV still works. I remember the old TV we used to have.
Small. a forth of a size the screen mo bigger than 2.5/3 inches diagonally.
A big round wooden table the small TV ontop of the dishwasher.
Gum drop nipples.
Wesselman also concerned with composition. He explored every permutation in his preliminary sketches of figure drawings.
Wesselman highly process oriented.
“A relentless worker, Wesselman left almost nothing to chance.” He kept short, but detailed lists of all his paintings.
Organization was key to he Artisit. He developed a system of working. A
Tom Wesselman while on vacation in Cape Cod. Continued pairing and sketching ideas for his larger works. Here he came up with his idea for seascapes. Where be came concerned with Framing, nipples, and positive and negative space.
The canvas conforms to the space between the breast, arm, and the ground.
In the Smoker’s series, after seascapes, Tom Wesselman moved from simplicity to complexity again when he studied the variations of flowing smoke. This time, however, he incorporates the idea of his framed canvases from his nudes.
All the sudden it all seems to come together very quickly in this series. The models become strikingly real. Iconic. In their magnified simplicity. You can almost feel the breath rising out of the canvas from their enlarges, exhaling mouths.
A but bolt on the orange.
Teeth comin out of the flowers.
Favorite of all time: bedroom painting number 62
Drawin as an expanded medium.
Wesselman never broke from tradition. Always studied drawing. Did tons of preliminary drawings to understand the limited and possibilities of each medium.
Tom Wesselman holds up an steel-cut nude. The space between the legs.
The Wesselman charcoal radio.
Why does the eye attracted to 4
And attracted to the way a sentence is for parts?
My guess. That whether you are looking at a piece or art or a sentence, your mind still has to build the picture, the composition.
Why 4 I don’t know. …it probably. Has something todo with that’s the limit of our short term memory.
Odd numbers in literature. 3,5,7
So many intricacies. The brain makes so many connections you wouldn’t typically think about.
Psychology. You just keep delving further and further into the synapse of learning.
The pholosophy of learning.
Wesselman payed homage to Matisse.
In 1993 Wesselamnrexonnect with abstraction which he had abandoned in 1953. Thanks to his growing interests in left over scraps from painted macular that he used to select colors for his painting a.
The prodigal son returns: “Back on my own terms and not of those of deKooning.”
She almost looks like the out line of a puddle of mud in the ground.
The Final years
The Sunset nudes
These paintings a return to the pectoral classicism of Marisse.
Yet share pictorial qualities from the steelwork paintings. For exams the large white highlights that used to be represented by the walls. Suggest the wall.
Until his death in 2004. He is song. For repairing the conflict that pitted the abstract the figurative. While also reconciling the two approaches he felt torn between at the beginning of his career.
“Motifs, nudes and glorious color.”