About

Tom Wesselmann was born on February 23, 1931, in Cincinnati, Ohio. He attended Hiram College from 1949 to 1951 before transferring to the University of Cincinnati. His studies were interrupted in 1953 when he enlisted in the army for two years, during which he began drawing cartoons. After returning to the university in 1954, he earned a bachelor’s degree in psychology in 1956. Deciding to pursue cartooning, he enrolled at the Art Academy of Cincinnati. Upon graduation, he moved to New York City and attended Cooper Union, where his focus shifted dramatically to fine art, earning his diploma in 1959.

As a leading American Pop Artist of the 1960s, Wesselmann rejected Abstract-Expressionism in favor of classical representations of the nude, still life, and landscape. He created powerful collages and assemblages using everyday objects and advertising materials. His renowned Great American Nude series is notable for its bold forms and vibrant colors.

In the 1970s, Wesselmann continued exploring themes and media from the previous decade, notably in his large Standing Still Life series, featuring free-standing shaped canvases that depicted intimate objects on a grand scale. In 1980, under the pseudonym Slim Stealingworth, he wrote an autobiography documenting his artistic evolution. He continued working with shaped canvases and began creating metal works, developing a laser-cutting technique to faithfully translate his drawings into metal cut-outs. The 1990s and early 2000s saw him expanding these themes, creating abstract three-dimensional images that he described as achieving what he had aimed for in 1959. In his final years, he revisited the female form in his Sunset Nudes series, which were oil paintings on canvas that evoke the abstract imagery and vibrant moods of Henri Matisse’s odalisques.

Selected Available works

Tom Wesselmann

Nude Banner

Signed and numbered 2/20 on a label affixed to the reverse Vinyl banner mounted on stretcher Executed circa 1968, this work is number 2 from an edition of 20 edited by Betsy Ross Flag and Banner Co., Inc

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Nude Banner, 1968

152 x 184.5 cm.

Signed and numbered 2/20 on a label affixed to the reverse
Vinyl banner mounted on stretcher
Executed circa 1968, this work is number 2 from an edition of 20 edited by Betsy Ross Flag and Banner Co., Inc

Living in Brooklyn, Wesselmann sustained himself by selling cartoons to publications like the Saturday Evening Post, “gag” magazines, and advertising agencies. In the late 1950s, he co-founded the Judson Gallery in the West Village alongside Marc Ratliff and Jim Dine. After completing his studies, he spent three years teaching high school art and math while dedicating his evenings to expanding his artistic practice, crafting small portrait collages such as the influential Portrait Collage #1 (1959). Wesselmann expressed his desire for his paintings to possess the spatial and visual assertiveness akin to de Kooning, but also emphasized the necessity to forge his unique style by moving beyond de Kooning’s influence, just as de Kooning did with Picasso.

Wesselmann is acclaimed for his Great American Nude series (1961–73), which merges sensual female figures with allusions to art history and popular culture. These reclining female subjects were often depicted in patriotic red, white, and blue, integrating elements of American advertising within the Western figurative tradition. In the late 1960s, he created close-up views of the nude in the Bedroom Paintings (1968–83), juxtaposing a single body part with typical bedroom objects like a light switch, flowers, pillow edges, and curtains.

Between 1967 and 1981, Wesselmann worked on his Standing Still Life paintings, massive works composed of multiple canvases shaped to outline common objects. In 2018, the complete series of nine works was exhibited for the first time at Gagosian on West 24th Street in New York. Following the Standing Still Lifes, he ventured into three-dimensional sculptural works. He innovatively “drew” with sculptural materials, cutting steel and aluminum into the shapes of his drawn forms. His abstract works from the mid-1990s to the early 2000s expanded on this mode, pushing the boundaries between painting and sculpture on a larger scale.

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