Robert Rauschenberg

L.A. Uncovered #1

1998

Arcanum V is a 1981 color serigraph with hand-coloring and collage elements by Robert Rauschenberg. Arcanum V is part of Rauschenberg's Ancanum series, comprised of thirteen pieces f...

"Statue of Liberty" screen print and collage by Robert Rauschenberg from the "New York, New York" portfolio published by the New York Graphic Society. Signed Rauschenberg...

12-color screen print on deckle edge paper of a collage of Moroccan street scenes including an orange stand, umbrellas, a motorcycle shop and a F...

Deposit, 1975 Robert Rauschenberg Screenprint in colours with hand additions in pochoir, on wove paper Signed, dated and numbered from the edition of 200 From the portfolio America: The Third Century...

Created by Robert Rauschenberg as an original color screenprint in 1996, Untitled (Two Bicycles) measures 20 x 15 in (50.8 x 38.1 cm), unframed.  The artwork is hand-signed, dated an...

"At Leo's" is in the Pop Art style that fit Rauschenberg's fun sense of creativity. It is colorful and bold. Studying it seems like a map of extraordinary clues to some great secret. In fact a specific address is given along with a map of part of New York city and the name of a person, Leo. Rauschenberg's signature is on the lower left. Robert Rauschenberg, the irrepressibly prolific American artist, is known as the one who time and again reshaped art in the 20th century. He was a painter, photographer, printmaker, choreographer, onstage performer, and set designer. In later years, it is said, he was even a composer. He defied the traditional idea that an artist must stick to one medium or style. He pushed, prodded and sometimes reconceived all the mediums in which he worked. Similar to the artists, Marcel Duchamp, Kurt Schwitters, Joseph Cornell, John Cage and others, Rauschenberg helped obscure the lines between painting and sculpture, painting and photography, photography and printmaking, sculpture and photography, sculpture and dance, sculpture and technology, technology and performance art. Per the art critic, Jerry Saltz: Rauschenberg invented a new form called the combine. It was not quite a painting nor was it considered sculpture. For Rauschenberg, though, it was like discovering fire it so transformed his art. He used bedding, doors, parachutes, a tire, a stuffed goat and combined them into new forms. One combine, Monogram, features a stuffed goat encircled by a tire atop a horizontal painting. Saltz says, “Rauschenberg is a mischievous Satyr grazing on art history, or the goat is a gargoyle protecting the art. Either way, the title suggests that Rauschenberg was leaving his mark.” And leave his mark he did. He became known as the giant of American Art. Jasper Johns, his sometime lover, said, “Rauschenberg was the man who in this century invented the most since Picasso.” Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the Pop art movement. He received numerous awards during his nearly 60-year artistic career. Among the most prominent were the International Grand Prize in Painting at the 32nd Venice Biennale in 1964 and the National Medal of Arts in 1993. He lived and worked in New York City and on Captiva Island, Florida, At 18, Rauschenberg was admitted to the University of Texas at Austin where he began studying pharmacology, but he dropped out shortly after due to the difficulty of the coursework—not realizing at this point that he is dyslexic—and his unwillingness to dissect a frog in biology class. He was drafted into the United States Navy in 1944. Based in California, he served as a neuropsychiatric technician in a Navy hospital until his discharge in 1945 or 1946. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met fellow art student Susan Weil...