Robert Rauschenberg, ‘Untitled (Insects) ’, Christie's

Robert Rauschenberg (1925-2008)

Untitled (Insects)

engraving and paper collage on paperboard

10 x 7 in. (25.4 x 17.7 cm.)

Executed circa 1952.

Signature: Untitled (Insects)

Kunsthalle Tubingen, Robert Rauschenberg: Drawings, May-June 1979.

Kunstmuseum Hannover mit Sammlung Sprengel, Robert Rauschenberg: Drawings, August-September 1979.

Berlin, Staatliche Kunsthalle; Kunsthalle Düsseldorf; Humlebæk/Kopenhagen, Louisiana-Museum für Moderne Kunst; Frankfurt/Main, Städelsches Kunstinstitut and Münich, Städtische Galerie im Lenbachhaus, Robert Rauschenberg: Werke 1950-1980, March 1980-April 1981.

London, Tate Gallery, Rauschenberg: Werke 1950-1980, April 1981-June 1981.

Washington, D.C., Corcoran Gallery of Art; Houston, The Menil Collection; Chicago, Museum of Contemporary Art; San Francisco Museum of Modern Art; New York, Solomon R. Guggenheim Museum, Robert Rauschenberg: The Early 1950s, June 1991-January 1993, p. 129, no. 75 (illustrated in color).

New York, Solomon R. Guggenheim Museum; Houston, Menil Collection; Museum of Fine Arts, Houston; Cologne, Museum Ludwig and Bilbao, Guggenheim Museum, Robert Rauschenberg: A Retrospective, September 1997-March 1999, p. 69, pl. 34 (illustrated in color).

New York, Craig F. Starr Gallery, Robert Rauschenberg: North African Collages and Scatole Personali c. 1952, June-August 2012, n.p., no. 6 (illustrated in color).

A. Götz, Robert Rauschenberg Drawings (Zeichnungen, Gouachen, Collagen: 1949 bis 1979), Munich, 1979, p. 10 (illustrated).

G. Celant, _Roma New York 19481964: An Art Exploration,_Milan, 1993, p. 74 (illustrated).

The Estate of Ileana Sonnabend, acquired directly from the artist

By descent from the above to the present owner

About Robert Rauschenberg

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