Items Similar to Robert Rauschenberg, Deposit from America, screenprint, collage, signed, 1975 View More
Robert Rauschenberg, Deposit from America, screenprint, collage, signed, 1975 - Print by Robert Rauschenberg
Want more images?
Request additional images from the seller
1 of 9 images

Robert Rauschenberg
Robert Rauschenberg, Deposit from America, screenprint, collage, signed, 1975

1975

About

Screenprint with collage additions in colour, 1975, on wove paper, signed and dated in pencil, numbered from the edition of 200 (there were also 25 artist's proofs), published by APC Editions, New York, 76.3 x 56.7cm

Details

  • Movement & Style
  • Condition
    Good
  • Dimensions
    H 30.04 in. x W 22.33 in.H 76.3 cm x W 56.7 cm
  • Gallery Location
    London, GB
  • Reference Number
    LU4703967452
  • Seller Reference Number
    97972
Buyer Protection Guaranteed
Our Promise To You: If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read more

Shipping, Returns & Payment

  • Shipping
    Rates vary by destination and complexity

    Some items may require special handling and packaging. Request a shipping quote to see what options are available to your destination.

  • Return Policy

    This item can be returned within 7 days of delivery.

    View details
  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About Robert Rauschenberg (Artist)

Robert Rauschenberg was one of the preeminent American artists of the 20th century, occupying a singular position that straddled the Abstract Expressionist and Pop art movements, drawing on key elements of each. An artistic polymath equally adept at painting, collage and silkscreening, Rauschenberg is best known for for the complex assemblages of found objects he termed “combines.”


Rauschenberg was born in Port Arthur, Texas, in 1925. He first began to seriously consider a career in art in 1947, while serving in the U.S. Marines. After leaving the service, he briefly studied art in Paris with support from the G.I. Bill, then moved to North Carolina to attend Black Mountain College, home to a flourishing cross-disciplinary art community. Among his peers there were choreographer Merce Cunningham and composer John Cage, both of whom became friends and artistic collaborators.


Relocating to New York in the mid-1950s, Rauschenberg was initially put off by what he perceived as the self-seriousness of the adherents of Abstract Expressionism, then the dominant movement in the New York art world. Like Andy Warhol and Roy Lichtenstein, Rauschenberg was drawn to the visual landscape of popular culture and mined its imagery for inspiration. He used unorthodox materials like house paint and tried novel techniques in his studio like running paper over with a car whose wheels he had inked. Shortly after his inaugural solo exhibition at Leo Castelli Gallery, which featured paintings and drawings, he pivoted to a new format, creating his first found-object combines, which became his signature. The most famous of these is the 1959 Monogram in which a taxidermied goat is surrounded by a car tire, recalling the way a person’s initials are interwoven in the design referred to by the title.


Later in the 1960s, Rauschenberg turned his attention to silkscreening, creating prints that feature iconic figures of the day, very much in line with the style and content of Pop art. One such work, the 1965 Core which was created to commemorate the Congress of Racial Equality, combines photographs of President Kennedy, an unidentified Native American man, and a statue of a Civil War soldier with images of highways, amusement parks, street signs, and other features of the built environment. A circular color-test wheel sits at the composition’s formal core, reflecting the work’s commentary on race and ethnicity. Throughout the 1960s and ‘70s, Rauschenberg experimented with printing on unusual materials, such as Plexiglas, clothing and aluminum. Venturing even further afield, he created performance works, such as his 1963 choreographed piece “Pelican” and the 1966 film Open Score. In 1998, the Guggenheim Museum presented a large and comprehensive retrospective of Rauschenberg’s work, highlighting his influence on American art in the second half of the 20th century.

About the Seller

4 / 5
Vetted
1stdibs seller since 2014
Located in London, GB
More From This Seller
Robert Rauschenberg, Signs, screenprint in colours, signed, 1970
Robert Rauschenberg, Signs, screenprint in colo...
Robert Rauschenberg
1970s Pop Art Prints and Multiples
Screen
Rauschenbergs iconic work Signs, created in 1970, was originally created as a cover for Time magazine, Time ultimately decided not to use the work. So, Leo Castelli, one of the lead...
Roy Lichtenstein, Imperfect Print for B.A.M, woodcut, screenprint, 1987, signed
Roy Lichtenstein, Imperfect Print for B.A.M, wo...
Roy Lichtenstein
1980s Pop Art Abstract Prints
Screen, Woodcut
‘It seemed to be the most meaningless way to make an abstraction … the nameless or generic painting you might find in the background of a sitcom, the abstraction hanging over the cou...
Peter Blake, Piccadilly Circus - The Convention of Comic Book Characters, 2012
Peter Blake, Piccadilly Circus - The Convention...
Peter Blake
21st Century and Contemporary Pop Art Abstract Prints
Silkscreen 2012, printed on 410gsm Somerset, edition of 100, signed and numbered, Image size 50 x 50 cm, Sheet size: 66.6. x 65.2 cm
Ed Ruscha, America Whistles, lithograph, signed, 1975
Ed Ruscha, America Whistles, lithograph, signed...
Ed Ruscha
1970s Pop Art Abstract Prints
Lithograph
Created as part of a bicentennial featuring 13 artists entitled, “America: The Third Century,” “America Whistles” was chosen as the cover for the 1976 issue of Art News Magazine. As ...

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries