Up for auction a RARE! "Pop Art" Tom Wesselmann Hand Signed 3X5,5 Card Dated 1963. This item is authenticated by Todd Mueller Autographs and comes with their Certificate of Authenticity.

ES-6714

Thomas K. Wesselmann (February 23, 1931 – December 17, 2004) was an American artist associated with the Pop Art movement who worked in painting, collage and sculpture. Wesselmann was born at Cincinnati.From 1949 to 1951 he attended college in Ohio; first at Hiram College, and then transferred to major in Psychology at the University of Cincinnati. He was drafted into the US Army in 1952, but spent his service years stateside. During that time he made his first cartoons, and became interested in pursuing a career in cartooning. After his discharge he completed his psychology degree in 1954, whereupon he began to study drawing at the Art Academy of Cincinnati. He achieved some initial success when he sold his first cartoon strips to the magazines 1000 Jokes and True. 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 of Willem de Kooning, but he soon rejected action 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." For Wesselmann, 1958 was a pivotal year. A landscape painting trip to Cooper Union's Green Camp in rural New Jersey, brought him to the realization that he could pursue painting, rather than cartooning, as a career. After graduation, Wesselmann became one of the founding members of the Judson Gallery, along with Marc Ratliff and Jim Dine, also from Cincinnati, who had just arrived in New York. He and Ratliff showed a number of small collages in a two-man exhibition at Judson Gallery. He began to teach art at a public school in Brooklyn, and later at the High School of Art and Design. Wesselmann's series Great American Nude (begun 1961) first brought him to the attention of the art world. After a dream concerning the phrase "red, white, and blue", he decided to paint a Great American Nude in a palette limited to those colors and any colors associated with patriotic motifs such as gold and khaki. The series incorporated representational images with an accordingly patriotic theme, such as American landscape photos and portraits of founding fathers. Often these images were collaged from magazines and discarded posters, which called for a larger format than Wesselmann had used previously. As works began to approach a giant scale he approached advertisers directly to acquire billboards. Through Henry Geldzahler, Wesselmann met Alex Katz, who offered him a show at the Tanager Gallery. Wesselmann's first solo show was held there later that year, representing both the large and small Great American Nude collages. In 1962, Richard Bellamy offered him a one-man exhibition at the Green Gallery. About the same time, Ivan Karp of the Leo Castelli Gallery put Wesselmann in touch with several collectors and talked to him about Roy Lichtenstein and James Rosenquist’s works. These Wesselmann viewed without noting any similarities with his own {S. Stealingworth, p. 25}. While not a cohesive movement, the idea of Pop Art (a name coined by Lawrence Alloway and others) was gradually spreading among international art critics and the public. In As Henry Geldzahler observed: “About a year and a half ago I saw the works of Wesselmann..., Warhol, Rosenquist and Lichtenstein in their studios (it was more or less July 1961). They were working independently, unaware of each other, but drawing on a common source of imagination. In the space of a year and a half they put on exhibitions, created a movement and we are now here discussing the matter in a 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”. The Sidney Janis Gallery held the New Realists exhibition in November 1962, which included works by the American artists Jim Dine, Robert Indiana, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, and Andy Warhol; and Europeans such as Arman, Enrico Baj, Christo, Yves Klein, Tano Festa, Mimmo Rotella, Jean Tinguely, and Mario Schifano. It followed the Nouveau Réalisme exhibition at the Galerie Rive Droite in Paris, and marked the international debut of the artists who soon gave rise to what came to be called Pop Art in Britain and The United States and Nouveau Réalisme on the European continent. Wesselmann took part in the New Realist show with some reservations, exhibiting two 1962 works: Still life #17 and Still life #22. Wesselmann never liked his inclusion in American Pop Art, pointing out how he made an aesthetic use of everyday objects and not a criticism of them as consumer objects: “I dislike labels in general and 'Pop' in particular, especially because it overemphasizes the material used. There does seem to be a tendency to use similar materials and images, but the different ways they are used denies any kind of group intention”. That year, Wesselmann had begun working on a new series of still lifes. experimenting with assemblage as well as collage. In Still Life #28 he included a television set that was turned on, “interested in the competitive demands that a TV, with moving images and giving off light and sound, can make on painted portions”  He concentrated on the juxtapositions of different elements and depictions, which were at the time truly exciting for him: “Not just the differences between what they were, but the aura each had with it... A painted pack of cigarettes next to a painted apple wasn’t enough for me. They are both the same kind of thing. But if one is from a cigarette ad and the other a painted apple, they are two different realities and they trade on each other... This kind of relationship helps establish a momentum throughout the picture... At first glance, my pictures seem well behaved, as if – that is a still life, O.K. But these things have such crazy give-and-take that I feel they get really very wild”. He married Claire Selley in November 1963. In 1964 Ben Birillo, an artist and business partner of gallery owner Paul Bianchini, contacted Wesselmann and other Pop artists with the goal of organizing The American Supermarket at the Bianchini Gallery in New York. This was an installation of a large supermarket where Pop works (Warhol's Campbell's Soup, Watts's colored wax eggs etc.) were shown among real food and neon signs. In the same year Wesselmann began working on landscapes, including one that includes the noise of a Volkswagen starting up. The first shaped canvas nudes also appeared this year.