Robert RauschenbergWater Stop1968
1968
About the Item
- Creator:Robert Rauschenberg (1925 - 2008, American)
- Creation Year:1968
- Dimensions:Height: 54 in (137.16 cm)Width: 32 in (81.28 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU2407214223972
Robert Rauschenberg
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, 1965's 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.
Find original Robert Rauschenberg art for sale on 1stDibs.
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- MarginaliaBy Terry WintersLocated in New York, NYMarginalia, 1988 Lithograph 48 x 31 3/4 inches Edition of 66Category
2010s Prints and Multiples
MaterialsLithograph
- Lucky Strike In The Mirror (Lucky Strike I)By Larry RiversLocated in New York, NYLucky Strike In The Mirror (Lucky Strike I), 1961 Lithograph on paper 30 x 22 1/4” Edition of 20Category
1960s Prints and Multiples
MaterialsLithograph
- MarkBy Robert RauschenbergLocated in New York, NYMark, 1964 Lithograph 15 1/2 x 16” Edition of 42Category
1960s Prints and Multiples
MaterialsLithograph
- UntitledBy Sam FrancisLocated in New York, NYUntitled, 1975 Lithograph 29 1/4 x 22 1/4” Edition of 125 Unique Color Trial ProofCategory
1970s Abstract Prints and Multiples
MaterialsLithograph
- UntitledBy Sam FrancisLocated in New York, NYUntitled, 1979 Lithograph 22 1/8 x 18 1/8” Edition of 100 Unique color trial proofCategory
1970s Abstract Abstract Prints
MaterialsLithograph
- Voice 2By Jasper JohnsLocated in New York, NYVoice 2, 1983 Lithograph on Rives BFK paper 19 3/4 x 26” Edition of 41 Publisher: Universal Limited Art Editions Printer: Bill Goldston, James V. Smith, & Thomas CoxCategory
1980s Prints and Multiples
MaterialsLithograph
- Sandeman Porto & Sherry – Iconic Original PosterLocated in Zurich, CHThe Don: One of the most recognizable figures in poster history ever, quietly reveling in the simple delights of a glass of ruby port – typically thought of as a horseman, clad in a ...Category
1920s Art Deco Figurative Prints
MaterialsPaper, Lithograph
- "La Vache Enragee" iconic vintage poster by Toulouse-LautrecBy Henri de Toulouse-LautrecLocated in Hinsdale, ILTOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA VACHE ENRAGÉE" Wittrock P27B, Adhemar 197 Original color lithograph Wittrock’s State III of III with letters Printed on buff wove paper, c. 1896 Bears artist stamp “TL” upper right, dated 96 Image size: 22 1/2” x 23 5/8” Several examples are known where Lautrec drew on work by other artists whom he admired. In this poster there are clear references to Adolphe Willette's humorous themes and rococo style of illustration. Willette was the founder and illustrator of the short-lived monthly “La Vache Enragee”(the angry cow) edited by the cartoonist Adolphe Roedel. This colored poster of the same title was commissioned for the appearance of the magazine March 1896. As a reference to the wretched financial state of most artists, the term “manger de la vache enrage” (meaning roughly, “meaning not having enough to eat”) was adopted as the motto for the “Vachalcade”which was held on Montmarte annually from 1896. This was an artists' procession, with fanfares and allegories on fame and the muses; it also included a furious cow and a troupe of pretty girls as a satire on Europa with the bull. The event was organized by Roedel"(Adriani p.217) Toulouse-Lautrec took up lithography at a high point in its history, when technical advances in color printing and new possibilities for large scale led to a proliferation of posters as well as prints for the new bourgeois collector. In his short career, he created more than three hundred fifty prints and thirty posters, as well as lithographed theater programs...Category
1890s Art Nouveau Figurative Prints
MaterialsLithograph
- F-111 (Castelli Gallery Poster)By James RosenquistLocated in Hinsdale, ILROSENQUIST, JAMES (1933 - 2017) F-111 (Castelli Gallery Poster) Offset Lithograph c. 1965 Signed and dated in pencil along lower edge Sheet Size: 28” x 22”, Fresh ...Category
1960s Pop Art Abstract Prints
MaterialsLithograph, Offset
- "MARIS STELLA" from "L'estampe Moderne"Located in Hinsdale, ILGUYON, MAXIMILIENNE (1868-1903) "MARIS STELLA" Lithograph in color, c. 1898-99 Signature in stone “Maximilienne Guyon”; lower right Sheet size: 16” x 12” As published in L’estampe Moderne...Category
1890s Art Nouveau Portrait Prints
MaterialsLithograph
- "Promenoir" by Henri de Toulouse-LautrecBy Henri de Toulouse-LautrecLocated in Hinsdale, ILTOULOUSE-LAUTREC, HENRI DE (1864-1901) PROMENOIR Delteil 290, Adhemar 324, Wittrock 315 Lithograph printed in olive black-green ink, c. 1899 Printed on japon paper, Full margi...Category
1890s Art Nouveau Figurative Prints
MaterialsLithograph
- "The Chap Book " Original lithograph from “Les Maitres de L’Affiche” seriesLocated in Hinsdale, ILBRADLEY, WILL (1868 - 1962) The Chap Book Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #34, 1898. Plate #136 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters...Category
1890s Art Nouveau Figurative Prints
MaterialsLithograph