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New York Philharmonic 150th Anniversary, Dec. 7 1992, 1991

Color lithograph on paper
Edition 49/102
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
About the work
S
Skinner

Edition of 102.

Sheet size 44.75 x 35 in. (113.5 x 88.8 cm), framed.

Condition: Full sheet …

Read more

Edition of 102.

Sheet size 44.75 x 35 in. (113.5 x 88.8 cm), framed.

Condition: Full sheet with deckled edges, crease near corner l.r., subtle bends to some deckles, floated within the frame, not examined out of frame.
— The absence of a condition statement does not imply that the lot is in perfect condition or …

Read more
Medium
Print
Signature
Signed "RAUSCHENBERG" in pencil l.l., numbered and dated "49/102 91" in pencil l.r.
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.

Save
Save
Share
Share
Save
Save
Share
Share
About the work
S
Skinner

Edition of 102.

Sheet size 44.75 x 35 in. (113.5 x 88.8 cm), framed.

Condition: Full sheet …

Read more

Edition of 102.

Sheet size 44.75 x 35 in. (113.5 x 88.8 cm), framed.

Condition: Full sheet with deckled edges, crease near corner l.r., subtle bends to some deckles, floated within the frame, not examined out of frame.
— The absence of a condition statement does not imply that the lot is in perfect condition or …

Read more
Medium
Print
Signature
Signed "RAUSCHENBERG" in pencil l.l., numbered and dated "49/102 91" in pencil l.r.
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.

New York Philharmonic 150th Anniversary, Dec. 7 1992, 1991

Color lithograph on paper
Edition 49/102
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Robert Rauschenberg