Robert Rauschenberg, ‘Quattro Mani’, 1998, Heritage Auctions
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Quattro Mani, 1998

Screenprint in colors on Lanaquarlle
40 × 40 in
101.6 × 101.6 cm
Edition 14/40
Bidding closed
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About the work
HA
Heritage Auctions

Published by Gemini G.E.L., Los Angeles LITERATURE: Gemini, DP/RR98-5246

Medium
Signature
Signed, numbered, and datd in pencil along lower edge
Image rights
Courtesy of Heritage Auctions
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.

Darryl Pottorf
American, b. 1952
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“Negotiating between my nature and the nature of my materials, I look at the world,” Darryl Pottorf has said. The artist uses a highly technical approach to amass imagery from his world travels into mixed-media works. Using a technique developed in the early 1990s in the studio of Robert Rauschenberg (whom Pottorf assisted and eventually collaborated with for more than 20 years) Pottorf employs a transfer process that involves scanning his photographs into a computer and printing them onto soluble, film-like material; the images can be transferred to his surface by pressure, resulting in subdued colors and delicate forms. Pottorf likens his original photographs to an underpainting which he then layers with pigment. Within his visually provocative imagery, Pottorf has captured Buddhist monks in prayer, the souks in Morocco, and suburban backyards, all with his astute eye for classical architecture and forms.

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Robert Rauschenberg, ‘Quattro Mani’, 1998, Heritage Auctions
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Save
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View
View in room
Share
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About the work
HA
Heritage Auctions

Published by Gemini G.E.L., Los Angeles LITERATURE: Gemini, DP/RR98-5246

Medium
Signature
Signed, numbered, and datd in pencil along lower edge
Image rights
Courtesy of Heritage Auctions
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.

Darryl Pottorf
American, b. 1952
Follow

“Negotiating between my nature and the nature of my materials, I look at the world,” Darryl Pottorf has said. The artist uses a highly technical approach to amass imagery from his world travels into mixed-media works. Using a technique developed in the early 1990s in the studio of Robert Rauschenberg (whom Pottorf assisted and eventually collaborated with for more than 20 years) Pottorf employs a transfer process that involves scanning his photographs into a computer and printing them onto soluble, film-like material; the images can be transferred to his surface by pressure, resulting in subdued colors and delicate forms. Pottorf likens his original photographs to an underpainting which he then layers with pigment. Within his visually provocative imagery, Pottorf has captured Buddhist monks in prayer, the souks in Morocco, and suburban backyards, all with his astute eye for classical architecture and forms.

Quattro Mani, 1998

Screenprint in colors on Lanaquarlle
40 × 40 in
101.6 × 101.6 cm
Edition 14/40
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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Other works by Robert Rauschenberg
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