Echo When

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Robert Rauschenberg
Echo When
1978

About the Item

This artwork titled "Echo When" 1978 is a rare original serigraph with offset lithograph on cream Umbria Italia paper by American artist Robert Rauschenberg, 1925-2008. In collaboration with the Russian poet Andrei Voznesensky, 1933-2010. It is hand signed and numbered 8/41 (a small total edition of only 41) in pencil by the artist, and also signed by Andrei Voznesensky. Published by Universeal Limited Art and West Islip, New York and Printed by Bill Goldstone and John A. Lund, New York. The sheet size is 27 x 19.75 inches, framed is 39.5 x 31 inches. This particular artwork is held in several museums, including the Museum of Modern Art, New York. It is beautifully framed in a wooden gold frame, with fabric matting and color bevel. About the artist. Born in Port Arthur, Texas in 1925, Robert Rauschenberg imagined himself first as a minister and later as a pharmacist. It wasn't until 1947, while in the U.S. Marines, that he discovered his aptitude for drawing and his interest in the artistic representation of everyday objects and people. After leaving the Marines, he studied art in Paris on the G.I. Bill, but quickly became disenchanted with the European art scene. Rauschenberg's enthusiasm for popular culture and his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. He found his signature mode by embracing materials traditionally outside of the artist's reach. He would cover a canvas with house paint, or ink the wheel of a car and run it over paper to create a drawing, while demonstrating rigor and concern for formal painting. By 1958, at the time of his first solo exhibition at the Leo Castelli Gallery, his work had moved from abstract painting to drawings like "Erased De Kooning" (1953) (which was exactly as it sounds) to what he termed "combines." These combines (meant to express both the finding and forming of combinations in three-dimensional collage) cemented his place in art history. As Pop Art emerged in the 1960s, Rauschenberg turned away from three-dimensional combines and began to work in two dimensions, using magazine photographs of current events to create silk-screen graphic prints. Rauschenberg transferred prints of familiar images, such as JFK or baseball games, to canvases and overlapped them with painted brushstrokes. They looked like abstractions from a distance, but up close the images related to each other, as if in conversation. These collages were a way of bringing together the inventiveness of his combines with his love for painting. Using this new method he found he could make a commentary on contemporary society using the very images that helped to create that society. From the mid sixties through the seventies he continued the experimentation in printmaking by printing onto aluminum, moving plexiglass disks, clothes, and other surfaces. He challenged the view of the artist as auteur by assembling engineers to help in the production of pieces technologically designed to incorporate the viewer as an active participant in the work. He also created performance pieces centered around chance. To watch dancers on roller-skates (Pelican, 1963) or to hear the sound of a gong every time a tennis ball was hit (Open Score, 1966), was to witness an art that exchanged lofty ambitions for a sense of excitement and playfulness while still retaining meaning. Throughout the '80s and '90s Rauschenberg continued his experimentation, concentrating primarily on collage and new ways to transfer photographs. In 1998 The Guggenheim Museum put on its largest exhibition ever with four hundred works by Rauschenberg, showcasing the breadth and beauty of his work, and its influence over the second half of the century. Rauschenberg died in May 2008, of heart failure, at his home on Captiva Island, FL at the age of 82. The work of Robert Rauschenberg is held in major collections and museums worldwide. Selected Museums: Metropolitan Museum of Art, NYC Guggenheim Museum, NYC Museum of Modern Art, NYC Cooper-Hewitt National Design Museum, NYC National Gallery of Art, Washington, DC Houston Museum of Fine Arts, TX Long Beach Museum of Art, CA Norton Simon Museum, CA Museum of Modern Art Los Angeles, CA Guggenheim Berlin, Germany Guggenheim Bilbao, Spain Tate Gallery, London

Creator:
Robert Rauschenberg (1925 - 2008, American)
Creation Year:
1978
Dimensions:
Height: 39.5 in (100.33 cm)Width: 31 in (78.74 cm)Depth: 2 in (5.08 cm)
Medium:
Lithograph
Movement & Style:
Pop Art
Period:
Late 20th Century
Condition:
Gallery Location:
San Francisco, CA
Reference Number:
Seller: rausch/echo/011stDibs: LU66634285921

Shop All Robert Rauschenberg

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.

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