LaurieAnnie's photos with the keyword: Rauschenberg

Robert Rauschenberg (American, 1925-2008) Winter Pool, 1959 Combine painting: oil, paper, fabric, wood, metal, sandpaper, tape, printed paper, printed reproductions, handheld bellows, and found painting, on two canvases, with ladder; 89 1/2 x 58 1/2 x 4 in. (227.3 x 148.6 x 10.2 cm) Jointly owned by Steven A. Cohen and The Metropolitan Museum of Art; Promised Gift of Steven A. Cohen, and Purchase, Lila Acheson Wallace Gift, Bequest of Gioconda King, by exchange, Anonymous Gift and Gift of Sylvia de Cuevas, by exchange, Janet Lee Kadesky Ruttenberg Fund, in memory of William S. Lieberman, Mayer Fund, Norman M. Leff Bequest, and George A. Hearn and Kathryn E. Hurd Funds, 2005 (2005.390) Text from: www.metmuseum.org/Works_of_Art/collection_database/modern... ['Winter_Pool', 'Winter_Pool']/objectview.aspx?OID=210016524&collID=21&dd1=21

Robert Rauschenberg. (American, born 1925). Bookworms Harvest. 1998. Vegetable dye transfer on paper on metal, 8' 1 1/2" x 61" (247.6 x 154.9 cm). Fractional and promised gift of Jerry I. Speyer Text from: www.moma.org/collection/browse_results.php?object_id=78899

Robert Rauschenberg. (American, born 1925). Bookworms Harvest. 1998. Vegetable dye transfer on paper on metal, 8' 1 1/2" x 61" (247.6 x 154.9 cm). Fractional and promised gift of Jerry I. Speyer Text from: www.moma.org/collection/browse_results.php?object_id=78899

Robert Rauschenberg. (American, born 1925). Bookworms Harvest. 1998. Vegetable dye transfer on paper on metal, 8' 1 1/2" x 61" (247.6 x 154.9 cm). Fractional and promised gift of Jerry I. Speyer Text from: www.moma.org/collection/browse_results.php?object_id=78899

Robert Rauschenberg. (American, born 1925). Bed. 1955. Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, 6' 3 1/4" x 31 1/2" x 8" (191.1 x 80 x 20.3 cm). Gift of Leo Castelli in honor of Alfred H. Barr, Jr. Gallery label text 2007 Bed is one of Robert Rauschenberg's first Combines, the artist's term for his technique of attaching cast–off items, such as tires or old furniture, to a traditional support. In this case he framed a well–worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with paint, in a style reminiscent of Abstract Expressionism. Legend has it that these bedclothes are Rauschenberg's own. The work is thus as personal as a self–portrait, or more so—a quality consistent with Rauschenbergs statement, "Painting relates to both art and life.... (I try to act in that gap between the two.)" Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 207 Bed is one of Rauschenberg's first Combines, his own term for his technique of attaching cast–off items, such as rubber tires or old furniture, to a traditional support. In this case he framed a well–worn pillow, sheet, and quilt, scribbled them with pencil, and splashed them with paint, in a style derived from Abstract Expressionism. In mocking the seriousness of that ambitious art, Rauschenberg predicted an attitude more widespread among later generations of artists—the Pop artists, for example, who also appreciated Rauschenberg's relish for everyday objects. Legend has it that the bedclothes in Bed are Rauschenberg's own, pressed into use when he lacked the money to buy a canvas. Since the artist himself probably slept under this very sheet and quilt, Bed is as personal as a self-portrait, or more so—a quality consistent with Rauschenberg's statement, "Painting relates to both art and life. . . . (I try to act in that gap between the two)." Although the materials here come from a bed, and are arranged like one, Rauschenberg has hung them on the wall, like a work of art. So the bed loses its function, but not its associations with sleep, dreams, illness, sex—the most intimate moments in life. Critics have also projected onto the fluid-drenched fabric connotations of violence and morbidity. Text from: www.moma.org/collection/browse_results.php?object_id=78712