
Tom Wesselmann
Judy on Blue Blanket, 2000
“I don’t depict nudes from any sociological, cultural, or emotional intention,” Tom Wesselmann once

Artist: Tom Wesselmann, American (1931 - 2004)
Title: Judy on Blue Blanket
Tear: 2000
Medium: …

Tom Wesselmann is considered one of the major artists of New York Pop Art, along with Roy Lichtenstein and Andy Warhol. Best known for his 1960s series “Great American Nude,” which featured flat figures in an intense palette of red, white, blue, and other patriotic colors, Wesselmann, in an effort to reject Abstract Expressionism, made collages and assemblages that incorporated everyday objects and advertising ephemera. In the early 1980s, he produced his first "Metal Works,” in which he shaped canvases and cut metal to create abstract three-dimensional images. In his final years, Wesselmann returned to the female form in the “Sunset Nudes” series, where the compositions, abstract imagery, and sanguine moods recall the odalisques of Henri Matisse.

“I don’t depict nudes from any sociological, cultural, or emotional intention,” Tom Wesselmann once explained. “The nude, I feel, is a good way to be aggressive, figuratively. I want to stir up intensive, explosive reactions in the viewers.” Wesselmann began painting nude women in 1959, rejecting the prevailing style …

Artist: Tom Wesselmann, American (1931 - 2004)
Title: Judy on Blue Blanket
Tear: 2000
Medium: Screenprint, Signed and Numbered in Pencil
Edition: 75, DP III/XII
Image Size: 23 x 32 inches
Size: 30 in. x 40 in. (76.2 cm x 101.6 cm)
Frame Size: 31.5 x 41.5 inches

Tom Wesselmann is considered one of the major artists of New York Pop Art, along with Roy Lichtenstein and Andy Warhol. Best known for his 1960s series “Great American Nude,” which featured flat figures in an intense palette of red, white, blue, and other patriotic colors, Wesselmann, in an effort to reject Abstract Expressionism, made collages and assemblages that incorporated everyday objects and advertising ephemera. In the early 1980s, he produced his first "Metal Works,” in which he shaped canvases and cut metal to create abstract three-dimensional images. In his final years, Wesselmann returned to the female form in the “Sunset Nudes” series, where the compositions, abstract imagery, and sanguine moods recall the odalisques of Henri Matisse.