This article analyzes the impact of the visual images of well-being upon interpretation of the concept of well-being in consumer culture. The object of this research is the paintings by postmodern artists, constructivists. and hyperrealists – A. Warhol, R. Rauschenberg, J. Jones, L. Lawler, T. Matin, as well as the posters of advertising constructors of A. Rodchenko. Examination is conducted on the artworks, since the time horizon of paintings is not limited to the “here and now”. The author discusses the images from semiotic and hermeneutical perspectives, which allow revealing the content of meanings expressed in the visual form. Artistic images become the object of research in the field of visual semiotics. The scientific novelty consists in the comprehensive socio-philosophical research of the process of creation, proliferation, and inverting meanings in the visual discourse on well-being. The article employs philosophical, rather than art history discourse. As a result, the author establishes correlation between visual images, social culture, and social conventions. The conclusion is made that the visual images of well-being emphasize the social component of well-being, dictate the logic of public consumption, and manipulate collective consciousness. Visual images become the markers of social well-being, translators of the myths on consumer culture, delicately manipulating the constructed Self.