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Untitled, 1961

Solvent transfer, pencil, watercolor and gouache on paper mounted to paper
24 × 30 1/2 in
61 × 77.5 cm
Bidding closed
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About the work
Exhibition history
Provenance
SCA
Sotheby's: Contemporary Art Day Auction

From the Catalogue

"The transfer drawings have no ground plane or spatial orthogonals; the …

Read more

From the Catalogue

"The transfer drawings have no ground plane or spatial orthogonals; the images float on the flat field, usually not overlapping. As John Cage observed, this gives them an indistinct quality, 'the outlines appear vague as in water or air (our feet are off the ground),' in other words, …

Read more
Medium
Drawing, Collage or other Work on Paper
Signature
Signed and dated 1961 on the reverse
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
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Provenance
SCA
Sotheby's: Contemporary Art Day Auction

From the Catalogue

"The transfer drawings have no ground plane or spatial orthogonals; the …

Read more

From the Catalogue

"The transfer drawings have no ground plane or spatial orthogonals; the images float on the flat field, usually not overlapping. As John Cage observed, this gives them an indistinct quality, 'the outlines appear vague as in water or air (our feet are off the ground),' in other words, …

Read more
Medium
Drawing, Collage or other Work on Paper
Signature
Signed and dated 1961 on the reverse
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.

Untitled, 1961

Solvent transfer, pencil, watercolor and gouache on paper mounted to paper
24 × 30 1/2 in
61 × 77.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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