![Arrow](https://d19sv06ke5lbyb.cloudfront.net/worker/items/16527-arrow-robert-rauschenberg.jpg?format=auto&width=87&height=100)
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More Details
Creation Date: 1983
Materials: Lithograph
Dimensions: 27" x 23" x 1"
Finish: Unframed
About the Item: Protean American artist Robert Rauschenberg, certainly among the top 5 greatest American artists of the second half of the 20th century (to me, the greatest), could do almost anything. But he was perhaps best known for his print work, which increasingly engaged him over the years and became his primary passion and skill. This is a classic collage-style Rauschenbergian litho, combining random images in a carefully orchestrated way. It's signed and dated by the artist, and is designated by him as a Printer's Proof. Framed and ready to hang.
![Robert Rauschenberg](https://d19sv06ke5lbyb.cloudfront.net/worker/items/16527-arrow-robert-rauschenberg.jpg?format=auto&width=&height=)
About The Artist
Milton Ernest "Robert" Rauschenberg (1925 Ð 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. He is well known for his collage-like prints layering multiple printed, painted, drawn, stamped or scratched-in images often with many different mediums in one piece. He studied at the Kansas City Art Institute and the Academie Julian in Paris. In 1948 Rauschenberg attended Black Mountain College in North Carolina where Josef Albers, a founder of the Bauhaus, became Rauschenberg's painting instructor. Albers' preliminary courses relied on strict discipline that did not allow for any "uninfluenced experimentation". Rauschenberg described Albers as influencing him to do "exactly the reverse" of what he was being taught.Rauschenberg's approach was sometimes called "Neo Dadaist," a label he shared with his friend, painter Jasper Johns. Rauschenberg was quoted as saying that he wanted to work "in the gap between art and life." A pioneer in using silkscreen printing as a pop art medium, where previously it was used only in commercial applicationsÑ it allowed him to address the multiple reproducibility of images, and the consequent flattening that lends. .
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