Robert Rauschenberg, ‘Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch’, 1980-83, Print, Four photoetchings in colors, on various papers, the full sheet and with full margins., Phillips
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Robert Rauschenberg

Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch, 1980-83

Four photoetchings in colors, on various papers, the full sheet and with full margins.
Bidding closed
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P
Phillips

smallest S. 29 3/8 x 22 in. (74.6 x 55.9 cm)
largest S. 47 3/4 x 31 1/2 in. (121.3 x 80 cm)

From the …

Medium
Signature
All signed, dated and numbered 7/24, 16/24, 16/26 and 2/24 in pencil respectively (there were also 5 artist's proofs), published by …
Robert Rauschenberg
American, 1925–2008
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Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.

Robert Rauschenberg, ‘Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch’, 1980-83, Print, Four photoetchings in colors, on various papers, the full sheet and with full margins., Phillips
Save
Save
Share
Share
P
Phillips

smallest S. 29 3/8 x 22 in. (74.6 x 55.9 cm)
largest S. 47 3/4 x 31 1/2 in. (121.3 x 80 cm)

From the Catalogue:
The series was created from Rauschenberg's own photographs—some of which were used for the set of Trisha Brown Dance Company’s Glacial Decoy (1979)—largely taken in Mexico and Florida.
—Courtesy of Phillips

Medium
Signature
All signed, dated and numbered 7/24, 16/24, 16/26 and 2/24 in pencil respectively (there were also 5 artist's proofs), published by …
Robert Rauschenberg
American, 1925–2008
Follow

Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.

Robert Rauschenberg

Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch, 1980-83

Four photoetchings in colors, on various papers, the full sheet and with full margins.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.

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