What Makes a Monochrome Painting Good
Robert Rauschenberg (1925-2008)
titled and inscribed 'This is Johanson's Painting' (upper right)
oil, metal, fabric, wood, paper, twine, picture frame, shaving brush and tin can on masonite in artist's frame
56 x 48 1/4 x 6 7/8 in. (142.2 x 122.5 x 17.5 cm.)
Executed in 1961.
Signature: titled and inscribed 'This is Johanson's Painting' (upper right)
Stockholm, Moderna Museet, Rörelse i konsten (Art in Motion), May-September 1961.
Venice, La Biennale di Venezia, Venice Biennale 1978: From Nature to Art, From Art to Nature, 1978, p. 32, pl. 63 (illustrated).
Berlin, Staatliche Kunsthalle; Kunsthalle Düsseldorf; Humlebæk, Louisiana Museum of Modern Art; Frankfort, Städelsches Kunstinstitut, Munich, Städtische Galerie im Lenbachhaus; Humlebæk, Louisiana Museum and London, Tate Gallery, Robert Rauschenberg: Werke 1950-1980, March 1980-June 1981, pp. 335 and 386, no. 36 (illustrated in color).
Basel, Galerie Beyeler, Rauschenberg, March-May 1984, pl. 5 (illustrated in color).
Madrid, Fundación Juan March and Barcelona, Fundació Joan Miró, Robert Rauschenberg, February-May 1985, cat. no. 12 (illustrated in color).
Bordeaux, CAPC musée d'art contemporain; Museo Nacional Centro de Arte Reina Sofía; Art Cologne; Hamburger Bahnhof; Rome, Galleria Nazionale d'Arte Moderna; Museo d'Arte Moderna e Contemporanea di Trento e Rovereto; Geneva, Musée Rath; Tokyo, Sezon Museum of Art; Sendai, Miyagi Museum of Art; Hiroshima, Fukuyama Museum of Art and Kyoto, National Museum of Modern Art, Collection Sonnabend: 25 Années de Choix et d'Activités d'Ileana et Michael Sonnabend, October 1987-February 1991, p. 104 (illustrated in color).
Baltimore Museum of Art, July 1990-March 2015 (on loan).
Baltimore Museum of Art, Robert Rauschenberg Combines: Painting + Sculpture, December 2000-May 2001.
Ohio, Wexner Center for the Arts, Part Object, Part Sculpture, October 2005-February 2006, p. 92 (illustrated in color).
New York, Metropolitan Museum of Art; Los Angeles, Museum of Contemporary Art; Paris, Centre Pompidou, Musée National d'Art Moderne and Stockholm, Moderna Museet, Robert Rauschenberg Combines, December 2005-May 2007, pp. 178 and 307, pl. 155 (illustrated in color).
A.R. Solomon, "Robert Rauschenberg," _Louisiana Revy,_September 1980, p. 33 (illustrated in color).
_The Sonnabend Collection: From Pop Art On,_exh. cat., Electa, Galleria Nazionale d'Arte Moderna, 1989, p. 63 (illustrated in color).
J. Jäger, _Das Zivilisierte Bild: Robert Rauschenberg Und Seine Combine-Paintings Der Jahre 1960 Bis 1962,_Vienna, 1999, p. 47, pl. 18 (illustrated in color).
B.W. Joseph, ed., _Rauschenberg and Sweden: Essays, Documents, Comments,_Stockholm, 2007, p. 74 (illustrated).
_Robert Rauschenberg & Jean Tinguely: Collaborations,_exh. cat., Basel, Museum Tinguely, 2009, p. 101 (illustrated in color).
R. Wetzel, "Robert Rauschenberg-Jean Tinguely: Collaborations," _Artinside,_2009, p. 6 (illustrated in color).
The Estate of Ileana Sonnabend, acquired directly from the artist
By descent to the present owner
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.
American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida
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