Museo Thyssen-Bornemisza - Inicio

Versión española

Buy tickets

Hubert Givenchy

From 22 October to 18 January 2014

Limited entry numbers. Early booking is recommended



Autor:
Robert Doisneau
Título:
Hubert de Givenchy
Fecha:
1960
Ubicacion:
© Robert Doisneau

Thyssen-Bornemisza Collection

Autor:
Tom Wesselmann
Título:
Nude No. 1
Fecha:
1970
Técnica:
Oil on canvas
Medidas:
63.5 x 114.5 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 783 (1974.53)

More information about this work




Tom Wesselmann was one of the main practitioners of American Pop Art, along with James Rosenquist and Roy Lichtenstein. Although Pop Art made a statement against the heroic aspirations of Abstract Expressionism, Wesselmann never denied that Willem de Kooning’s series of Women had been a permanent reference for him ever since he first set eyes on these works in 1953. Indeed, in 1964 he told the critic Gene Swenson that “De Kooning gave me content and motivation. My work evolves from that.”

At the end of the 1950s Wesselmann began a series of small collages of nudes in interior settings, built from magazine cuttings, which from 1961 provided the iconographic basis for his paintings of the Great American Nudes series. These modern odalisques painted in flat forms and brilliant colours combine models drawn from the tradition of the European nude, such as Manet’s Olympia and the nudes of Matisse or Modigliani, with everyday elements and images pertaining to American popular culture, taken from the cinema, press and television.

The present Nude No. 1, executed in 1970, is structurally similar to the Great American Nudes series and shows a female nude lying across the entire horizontal surface of the canvas in the foreground. By flattening the form of the body against the picture plane, Wesselmann achieves a certain abstract, depersonalised effect that contrasts with the carnal handling of the erogenous zones — pubis, prominent bust and fleshy lips — which, as in most of his compositions, make this painting an allegory of the woman as a sex symbol. The accompanying compositional elements, such as the photographic portrait of the painter, an orange and a vase of red roses, are related to the paintings of the series entitled Bedroom, from previous years. The inclusion of his own portrait has led some scholars to interpret this painting as a self-portrait. The fact that it is positioned next to the female body makes this great American nude an erotic, masturbatory dream.

Paloma Alarcó

Go to the shop

Recommended artists

Recommended works

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

We use our own cookies and those of third-parties to analyze the use of our website and display personalized advertising. If you continue browsing, we will consider that you consented to its use. For more information see our Cookie Policy.