韦塞尔曼出生在 辛辛那提 ”。
从1949到1951他参加了学院在俄亥俄；第一次在 海莱姆学院 ，然后转到心理学专业的 辛辛那提大学 。他被征召 我们的军队 1952，但花了他的服务年美国本土。那时候他做了他的第一个漫画中，成为追求事业漫画感兴趣。他放他1954他的心理学学位完成后，于是他开始绘制的研究 辛辛那提艺术学院 。他取得了初步的成功时，他卖掉了他的第一个漫画杂志 jokes 1000 和 真正的 ”。

为Wesselmann，1958是关键的一年。山水画之旅，在农村库珀联盟的绿色营 新泽西 ，让他意识到他可以继续画，而不是画漫画，作为一种职业。

 “静物# 20” 结合广告图像的不同的元素，一个实际的水龙头和橱柜，再现了一个又一个的画 风格派 艺术运动的画家 蒙德里安 ”。1959-1964
毕业后，韦塞尔曼成为了创始成员 贾德森画廊 ，和Marc Ratliff一起 吉姆·戴恩 ，同样来自辛辛那提，刚刚抵达纽约。他和拉特利夫给贾德森的一些画廊一二人展小拼贴画。他开始在一所公立学校里教艺术 布鲁克林 ，后来在 艺术与设计学校 ”。
韦塞尔曼的系列 伟大的美国裸体 （开始1961）第一次带他艺术世界的关注。关于“红色、白色和蓝色的梦后，他决定画一 伟大的美国裸体 在一个调色板仅限于那些颜色和爱国主题如黄金和卡其布相关的任何颜色。 [ 7 ] 该系列将具象的相应爱国的主题，如美国的风景照片和开国元勋的肖像。通常这些图像拼贴从杂志和丢弃的海报，称为一个较大的格式比Wesselmann以前。作品开始接近一个巨大的规模他走近广告直接获取广告牌。
通过 亨利·杰尔德扎赫勒 ，韦塞尔曼遇到了 亚历克斯·卡茨 ，谁给了他一个表演的 唐纳雀画廊 。韦塞尔曼的首次个展举行，今年晚些时候，代表大和小 伟大的美国裸体 拼贴画。1962，Richard Bellamy给了他一个人的展览在 绿色廊道 。大约在同一时间， 伊凡·卡普 的 卡斯特里  相册 把Wesselmann与几个收藏家联系，跟他谈 罗伊李奇登斯坦 和 詹姆斯·罗森奎斯特 的作品。这些Wesselmann视不顾任何相似之处自己
而不是一个连贯的动作，思想 流行艺术 （名字是由 劳伦斯·阿洛威 和其他人）在国际逐渐蔓延 艺术评论家 与公众。在Henry Geldzahler的观察：“大约一年半以前，我看到韦塞尔曼的作品…，沃霍尔，罗森奎斯特和李奇登斯坦在他们的工作室（这或多或少是七月1961）。他们独立工作，相互不了解，但一个共同的想象力源。在一年半的他们把展览，创造了一个运动，我们现在这里在会议讨论此事。这是艺术的即时历史，艺术史，就知道自己是做一个飞跃，超越了艺术本身”。

这个 詹尼斯  相册 举行 新现实主义者 十一月1962个展览，其中包括由美国艺术家的作品 吉姆·戴恩 ， 罗伯特·印第安纳 ， 罗伊李奇登斯坦 ， 克莱斯·奥登伯格 ， 詹姆斯·罗森奎斯特 ， 乔治西格尔 ，和 安迪沃霍尔 和欧洲人等； 阿尔曼 ， 恩里科BAJ ， 克里斯托 ， 伊夫克莱因 ，Tano Festa， 米莫·罗泰拉 ， 让·丁格利 ，和 斯基法诺 。它遵循 新现实主义 在画廊的展览在右岸 巴黎 ，标志着他很快引起了后来被称为艺术家的国际亮相 流行艺术 在英国和美国 新现实主义 在欧洲大陆。韦塞尔曼参加了 新现实主义者 显示有一些保留，
Wesselmann从来都不喜欢他那夹杂 美国人  流行艺术 ，指出他怎么了 审美 使用日常物品，不是批评他们的消费对象：“我不喜欢在特定的标签和一般的“流行”，特别是因为它过于强调使用的材料。似乎是一个倾向于使用类似的材料和图片，但他们用不同的方式否认任何集团的意图”。
那一年，Wesselmann开始工作的一个新系列的静物。试验 组合 以及拼贴。进入 静物# 28 他有一台电视机被打开，“在电视的竞争需求感兴趣，活动图像和发出光和声音，可以使画的部分”他集中研究不同元素和描写的对比，当时很兴奋的说：“不只是他们之间的差异，但都有它的光环…画包香烟一画苹果没有对我足够了。他们都是同一种东西。如果是从香烟广告和其他画苹果，他们是两个不同的现实，他们对彼此的交易…这种关系有助于建立整个画面的气势…乍一看，我的照片看起来乖巧，仿佛–是静物，但这些东西有这么疯狂的付出，我觉得他们真的很疯狂”。他在十一月1963和Claire Selley结婚。

Wessel Mann was born in Cincinnati".
From 1949 to 1951 he attended school in Ohio; the first time in Hiram college, and then transferred to the University of Cincinnati, majoring in psychology. He was drafted into the US Army in 1952, but spent his years of service of the United states. At that time he made his first comic book to become interested in pursuing career comics. He put his 1954 degree in psychology after he finished, so he began to draw the study of Art Academy of Cincinnati. He made a preliminary success when he sold his first comic magazine jokes 1000 and the real".
For Wesselmann, 1958 is a crucial year. A tour of landscape painting, in the village of Cooper, the green camp of New Jersey, made him realize that he could continue to paint rather than draw cartoons as a profession.
"Still # 20" combination of advertising images of different elements, an actual faucet and cabinets, a reproduction of a painting style art movement of the painter Mondriaan". 1959-1964
After graduation, Wessel Mann became a founding member of the Judson Gallery, along with Marc Ratliff, also from Cincinnati, just arrived in New York. He and Ratliff gave Judson some gallery one or two exhibition small collage. He began teaching art at a public school in Broolyn, and later in the school of art and design".
Wesselmann's series of great American nudes (beginning 1961) took his artistic world's attention for the first time. About "the red, white and blue after the dream, he decided to paint a great American nude only those colors and patriotic themes such as any color of gold and khaki related in a palette. [7] the series will be as the corresponding patriotic theme, such as American landscape photos and portraits of a founding father of a country. Often these images are pasted from magazines and discarded posters, called a larger format than Wesselmann before. The work began to approach a huge scale. He approached the advertisement to get the billboard.
Through Henry Geldzahler, Wessel met with Alex Katz, who gave him a show of the Tanner gallery. Wesselmann's first show was held later this year, representatives of large and small great American nude collages. 1962, Richard Bellamy gave him a show in the green corridor. At about the same time, Ivan Kapp's album the Wesselmann contact with several Castri collectors, talk to him about Roy Lichtenstein and James Rosenquist's works. These Wesselmann see no resemblance to their own
Rather than a coherent action, the idea of Pop Art (the name is made by Lawrence Alloway and others) in the international arena has gradually spread to art critics and the public. In Henry Geldzahler's observation: "about a year and a half ago, I saw Wesselmann's work... Warhol, Rosenquist and Lichtenstein in their studio (which is more or less July 1961). They work independently, do not understand each other, but a common source of imagination. In a year and a half they put the exhibition, created a campaign, we are now here to discuss the matter at the meeting. This is the art of instant history, the history of art, to know that they are making a leap beyond the art itself".
This album Janis held neorealists November 1962 exhibitions, including by American artists Jim Dane, Robert Indiana, Roy Lichtenstein, Clarence Auden Berg, James Rosen kvist, George Seagal, and ANN Diwohuoer and Europeans; Arman, Enrico BAJ, Christopher, Yves Klein, Tano Festa, Mimmo Rotella. Jean Tinguely, and three nobel. It follows the new realism in the gallery in the right bank of Paris, indicating that he soon attracted the artists came to be known as the international debut of pop art in Britain and the United States New Realism in continental europe. Wessel Mann took part in the Neo realist show some reservations,
Wesselmann never love him with American pop art, he pointed out how the aesthetic of everyday objects, not criticize their consumer: "I do not love in particular label and general" popular ", especially because it is too much emphasis on the use of materials. There seems to be a tendency to use similar materials and pictures, but they deny the intent of any group in a different way".
That year, Wesselmann began to work in a new series of still life. Test mix and collage. In 28 he # still has a TV set is opened, "in the television competition demand of interest, image and emit light and sound, can make the painting part" he focused comparative study and description of different elements, was very excited and said: "not only is the difference between them, but have it halo... Draw a cigarette and draw an apple is not enough for me. They're all the same thing. If it is from cigarette ads and other paintings to apples, they are two different realities of their trade with each other... This relationship helps to build the momentum of the whole picture... At first glance, my picture looks cute, like - is still life, but these things are so crazy to pay, I think they are really crazy". He married in November 1963 and Claire Selley.