Tom Wesselmann's Still Lifes series, spanning from the early 1960s to the 1980s, showcases the artist's exploration and reinvention of the traditional still life genre through the lens of Pop Art. This body of work is remarkable for its incorporation of mixed media, including collage, assemblage, and later, sculptural elements, reflecting a dynamic period in Wesselmann's career where he experimented with form, material, and the integration of three-dimensional objects into his compositions.
Early works in the series, such as "Still Life #24" (1962) and "Still Life #28" (1963), feature an eclectic mix of media, including acrylic, enamel, and collage on board. A notable aspect of these works is the incorporation of actual objects, like a television set that is turned on in "Still Life #28," blurring the lines between painting and real life. These pieces not only display Wesselmann's innovative approach to still life but also his interest in challenging viewers' perceptions by integrating moving images and light into his art (The Estate of Tom Wesselmann).
As Wesselmann progressed through the series, his compositions grew in complexity and size, with some pieces, such as "Still Life #60" (1973) and "Still Life with Belt and Sneaker" (1979-81), reaching monumental proportions. These later works often featured enlarged everyday objects, meticulously painted to create a sense of both familiarity and abstraction. By playing with scale and perspective, Wesselmann sought to elevate mundane objects to the status of high art, a hallmark of his contribution to Pop Art (The Estate of Tom Wesselmann).
Throughout his Still Lifes series, Wesselmann's work evolved to include three-dimensional sculptural elements, further pushing the boundaries of the still life genre. This evolution is evident in his later works, such as "Still Life with Goldfish, Fruit and Tulips" (3-D, 1988), where he utilized cut-out aluminum painted with enamel to create vibrant, stand-alone pieces that exist in the space between painting and sculpture. These later still lifes underscore Wesselmann's continual experimentation with materials and form, as well as his enduring fascination with the interplay between the two- and three-dimensional (The Estate of Tom Wesselmann) (The Art Story) (Gagosian).
Wesselmann's Still Lifes series stands as a testament to his innovative spirit and his significant role in the Pop Art movement, offering a fresh and provocative take on a traditional genre. Through this series, Wesselmann not only redefined the parameters of still life painting but also left an indelible mark on the art of the 20th century.