347
Tom Wesselmann
Still life with Lichtenstein and two oranges, 1993.
Silkscreen in colors
Estimate:
€ 7,000 / $ 8,050 Sold:
€ 8,750 / $ 10,062 (incl. surcharge)
347
Tom Wesselmann
Still life with Lichtenstein and two oranges, 1993.
Silkscreen in colors
Estimate:
€ 7,000 / $ 8,050 Sold:
€ 8,750 / $ 10,062 (incl. surcharge)
Silkscreen in colors.
Signed and numbered 75/90. On cardboard. 83,5 x 126,5 cm (32,8 x 49,8 in). Sheet: 108 x 149 cm (42,5 x 58,6 in).
With the blindstamp "Screened Images". Published by International Images (with blindstamp).
PROVENANCE: Collection Paul Rothman, New York.
From the early 1960s, the influence of the late Matisse was of paramount importance to Tom Wesselmann. Through Matisse’s "gouaches découpées" (paper cut-outs in bright colors), Tom Wesselmann arrived at the types basic to his œuvre and continued to be guided by them in his later work. This becomes apparent in his nude and still lifes, genres in which Wesselmann used motifs such as windows, flowers and fruits, in the vibrant colors, crisp outlines, swinging line and the balance held between positive and negative forms. Wesselmann was striving for results that “exploded on the wall and, in this respect, Matisse had an important influence” (quoted from: Thomas Zacharias, Künstler. Kritisches Lexikon der Gegenwartskunst, Munich 1998, p. 7). [NB]
Signed and numbered 75/90. On cardboard. 83,5 x 126,5 cm (32,8 x 49,8 in). Sheet: 108 x 149 cm (42,5 x 58,6 in).
With the blindstamp "Screened Images". Published by International Images (with blindstamp).
PROVENANCE: Collection Paul Rothman, New York.
From the early 1960s, the influence of the late Matisse was of paramount importance to Tom Wesselmann. Through Matisse’s "gouaches découpées" (paper cut-outs in bright colors), Tom Wesselmann arrived at the types basic to his œuvre and continued to be guided by them in his later work. This becomes apparent in his nude and still lifes, genres in which Wesselmann used motifs such as windows, flowers and fruits, in the vibrant colors, crisp outlines, swinging line and the balance held between positive and negative forms. Wesselmann was striving for results that “exploded on the wall and, in this respect, Matisse had an important influence” (quoted from: Thomas Zacharias, Künstler. Kritisches Lexikon der Gegenwartskunst, Munich 1998, p. 7). [NB]
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