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Seminole Host, from: ROCI USA (Wax Fire Works), 1990

Acrylic and firewax in colours on stainless steel
96 1/5 × 72 1/5 in
244.4 × 183.4 cm
Bidding closed
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About the work
C
Christie's

PROPERTY FROM THE TRUST OF THEODORE W. KHEEL

Signed and dated in paint, numbered 2/2, a proof aside …

Read more

PROPERTY FROM THE TRUST OF THEODORE W. KHEEL

Signed and dated in paint, numbered 2/2, a proof aside from the edition of 22, published by Saff Tech Arts, Oxford, Maryland, with their stamp, the Rauschenberg copyright stamp on the reverse, also stamped RP90113 on the reverse, in very good condition, framed.
Image & …

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Medium
Print
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.

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View
View in room
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Save
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About the work
C
Christie's

PROPERTY FROM THE TRUST OF THEODORE W. KHEEL

Signed and dated in paint, numbered 2/2, a proof aside …

Read more

PROPERTY FROM THE TRUST OF THEODORE W. KHEEL

Signed and dated in paint, numbered 2/2, a proof aside from the edition of 22, published by Saff Tech Arts, Oxford, Maryland, with their stamp, the Rauschenberg copyright stamp on the reverse, also stamped RP90113 on the reverse, in very good condition, framed.
Image & …

Read more
Medium
Print
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.

Seminole Host, from: ROCI USA (Wax Fire Works), 1990

Acrylic and firewax in colours on stainless steel
96 1/5 × 72 1/5 in
244.4 × 183.4 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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