Robert Rauschenberg Artworks

White, Black and Red Paintings

In the early 1950s Rauschenberg produced three consecutive series of monochromatic paintings. Rauschenberg's 'White Paintings' (1951), consisting of stretched canvases painted evenly with plain white paint leaving minimal signs of brush strokes, informed composer John Cage's infamous experimental 4'33" musical composition.

Becoming more expressive, Robert Rauschenberg's 'Black Paintings', made sporadically between 1951 and 1953 saw the artist experimenting with different textures and traditional brushstrokes, and with newspaper grounds. This further developed into Rauschenberg's 'Red Paintings' (1953–54), which were painted mostly in red paint applied onto various grounds in brushstrokes, impasto applications, drips, and directly from the tube. Into these the artist began incorporating fabrics and found objects.

Combines

From the mid-50s into the 1960s Rauschenberg began experimenting with his 'Combines' (1954–1964) works that blended the mediums of painting sculpture and found objects. The artist made free-standing and wall-based works that incorporated various discarded objects, from newspaper clippings to taxidermy, with paint and traditional paint supports.

These innovative Dada-inspired creations included works like Bed (1955), with its vertically presented paint-encrusted bed and quilt, and Monogram (1959), a stuffed billy goat thrust through an automobile tyre and standing on a platform. These 'combines' and later works by the artist that built on their initial premise, influenced later artists such as Don Driver, Jessica Stockholder, Isa Genzken, and Rachel Harrison.

Conceptual Art

Rauschenberg was also a precursor of contemporary Conceptual art. Long before the Conceptual art of the 1970s was defined, Rauschenberg made works like the self-explanatory Erased de Kooning Drawing (1953). In 1961 he presented as a work This is a Portrait of Iris Clert If I Say So (1961), a telegram the artist had sent to his dealer named in the title.

Prints

Works such as Retroactive I and Retroactive II (both 1963), part of a series of silkscreen paintings made in the early 1960s, are emblematic of Rauschenberg's first experiments with silkscreen printing and collage. A collage of everyday and pop culture images, such as a glass of water, a television still of John F Kennedy, and a NASA picture of an astronaut taken from Time Magazine, are imperfectly screen-printed on a canvas and touched up with paint. Such works have been viewed as an early prototype of Pop Art.

Rauschenberg continued to incorporate screen-printing processes into his art well into the 1990s in series like 'A Quake in Paradise (Labyrinth)' (1994)–a set of colourful acrylic screen-prints on aluminum and Lexan panels, presenting photographic imagery of divers.

Rauschenberg continued to experiment in these various mediums until his passing in 2008.