Rauschenberg, Robert - Arte Pop
Terça-feira, Fevereiro 26, 2008
Untitled, 1952
Transfer on paper with gouache, watercolor, crayon, pencil, and cut paper
10 7/8 x 8 3/8 inches
Guggenheim Museum, New York City
Minutiae, 1954
Freestanding combine
214.6 x 205.7 x 77.4 cm (84 1/2 x 81 x 30 1/2 in.)
Private collection
Reservoir, 1961
Cardboard, paper, tape, wood, metal, offset lithography, and screenprint
217,2 x 158,7
National Museum of American Art, Washington D.C.
Untitled, 1963
Oil, silkscreened ink, metal, and plastic on canvas
82 x 48 x 6 1/4 inches
Guggenheim Museum, New York City
Express, 1963
Oil on canvas
183 x 305 cm
Museo Thyssen-Bornemisza, Madrid
Skyway, 1964
Oil and silkscreen on canvas
215 31/32 x 192 in. (5 m 48.562 cm x 4 m 87.7 cm)
Dallas Museum of Art
Prize, 1964
Lithograph
15 3/4 x 16 in. (40 x 40.6 cm)
The Metropolitan Museum of Art, New York City
Card bird VI, 1971
Collage
photographic screenprint, collage, corrugated card
66.0 x 69.0cm image/sheet (irreg.)
Art Gallery of New South Wales, Sydney, Australia
Cardbird Door, published 1971
Cardboard, paper, tape, wood, metal, offset lithography, and screenprint
203.2 x 76.2 x 27.9 cm (80 x 30 x 11 in.
National Gallery of Art, Washington D.C.
Treaty, 1974
Color lithograph
Overall: 55 x 40 in. (139.7 x 101.6 cm)
Dallas Museum of Art
Untitled, 1974
Embossed paper, solvent transfer, and watercolor on cheesecloth
50 1/2 x 24 3/16 inches
Guggenheim Museum, New York City
Tanya, 1974
Lithograph
22 11/16 x 15 1/2 in. (57.6 x 39.4 cm)
The Metropolitan Museum of Art, New York City
Night Hutch (Hoarfrost), 1976
Ink on unstretched fabric
Overall: 49 1/2 x 42 in. (125.73 x 106.68 cm)
Dallas Museum of Art
Reef (Jammer)
work consists of 5 silk panels, 1976
5 pieces of silk
overall 233.0 (h) x 632.0 (w) x 60.0 (d) cm
each 233.0 (h) x 126.4 (w) x 60.0 (d) cm
National Gallery of Australia, Canberra
Publicon - Station I 1978
Enamel on wood, collaged laminated silk and cotton, gold leafed paddle, light bulb, perspex, enamel on polished aluminium
one of an edition of 30
open 154.8 (h) x 146.2 (w) x 29.0 (d) cm
closed 150.2 (h) x 75.6 (w) x 30.7 (d) cm
Signed and dated under base l.r., on metal plate, felt-tipped pen, "RAUSCHENBERG AP VI/X 78"
National Gallery of Australia, Canberra
Publicon - Station IV 1978
Enamel on wood construction, collaged laminated silk and cotton, bicycle wheel, fluorescent light fixture, perspex, enamel on polished aluminium
one of an edition of 30
open 132.2 (h) x 157.6 (w) x 32.9 (d) cm
closed 71.1 (h) x 91.3 (w) x 32.9 (d) cm
National Gallery of Australia, Canberra
Untitled Sculpture Piece, 1979
Sculpture piece composed of electric fan, birds and fruit, three superimposed plastic discs with colored silkscreen images, includ- ing wedge-shaped transparent plastic mount; 25" high.
Canton Museum of Art, Ohio
Untitled, 1979
Transfer drawing, ink on paper
39 x 26 1/2 in. (99.06 x 67.31 cm)
Dallas Museum of Art
Copperhead Grande/ROCI CHILE, 1985
Acrylic and tarnishes on copper
228.6 x 365.8 cm (90 x 144 in.)
National Gallery of Art, Washington D.C.
Malaysian Flower Cave/ROCI MALAYSIA, 1990
Acrylic and fabric on galvanized steel
306.8 x 367.7 cm (120 3/4 x 144 3/4 in.)
National Gallery of Art, Washington D.C.
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Em "Reservoir, 1961", um conjunto de objectos do quotidiano é representado sobre um fundo sujo. O relégio no canto superior esquerdo foi colocado quando o artista começou a trabalhar no quadro; o outro relógio foi colocado para registar a hora a que acabou. Este quadro «combinado» ilustra o método de selecção e de arranjo de imagens e objectos díspares feito por Rauschenberg. Não o executou com o objectivo de crítica social, mas antes pela ruptura com a ideia tradicional de espaço pictórico. Nas usas próprias palavras, pretendia «actuar no lapso entre a arte e a vida». Rauschenberg incorporou objectos quotidianos nos seus trabalhos tão naturalmente como muitos outros artistas usaram tradicionalmente a tinta. Figura de vanguarda, e convicto dessa condição, respondeu por telegrama à galerista parisiense Iris Clert quanto ao pedido de um retrato: «Isto é um retrato de Iris Clert se eu disser que o é». Robert Rauschenberg nasceu em Port Arthur, Texas,(EUA) em 1925.
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Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas at Austin before being drafted into the United States navy, where he served as a neuropsychiatric technician in the navy hospital corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year. In the fall of 1948, he returned to the United States to study under Josef Albers at Black Mountain College, near Asheville, North Carolina, which he continued to attend intermittently through 1952. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some of the works from this period included blueprints, monochromatic white paintings, and black paintings. From the fall of 1952 to the spring of 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence. Upon his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the streets; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns, with whom he is considered the most influential of artists who reacted against Abstract Expressionism [more]. The two artists had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. Rauschenberg began to silkscreen paintings in 1962. He had his first career retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for Painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects including printmaking, Performance [more], choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers. In 1970, Rauschenberg established a permanent residence and studio in Captiva, Florida, where he still lives. A retrospective organized by the National Collection of Fine Arts, Washington, D.C., traveled throughout the United States in 1976–78. Rauschenberg continued to travel widely, embarking on a number of collaborations with artisans and workshops abroad, which culminated in the Rauschenberg Overseas Culture Interchange (ROCI) project from 1985 to 1991. In 1997, the Solomon R. Guggenheim Museum, New York, exhibited the largest retrospective of Rauschenberg’s work to date, which traveled to Houston and to Europe in 1998.
Guggenheim Collection - Rauschenberg Biography
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