Robert Milton Ernest Rauschenberg (b. October 22 1925 in Port Arthur, Texas) is an American artist who came to prominence in the 1950s transition from Abstract (American, born 1925) Winter Pool, 1959 Combine painting, oil, paper, fabric, wood, metal, sandpaper sandpaper, abrasive originally made by gluing grains of sand to heavy paper sheets. Today sandpaper is made primarily with quartz, aluminum oxide, or silicon carbide grains, and is graded according to the size of the grains. , tape, printed paper, printed reproductions, handheld bellows bellows, expansible, gas-tight chamber used to pump or store a gas. One of the simplest and most familiar types of bellows is the manual one used for providing a forced draft to a fire. The expansible chamber consists of a leather bag with pleated sides. , and found painting, on two canvases, with ladder, 89 1/2 x 58 1/2 x 4" (227 x 149 x 10 cm) Jointly owned by Steven A. Cohen For other persons with a similar name, see .
Steven A. Cohen (born circa 1956), a self-made billionaire hedge fund investor, is the founder and manager of SAC Capital Partners, a Stamford, Connecticut-based hedge fund. and The Metropolitan Museum of Ant; Promised Gift of Steven A Cohen cohen
(Hebrew: “priest”) Jewish priest descended from Zadok (a descendant of Aaron), priest at the First Temple of Jerusalem. The biblical priesthood was hereditary and male. , and Purchase, Lila Acheson Wallace Gift, Anonymous Gift and Gift of Sylvia de Cuevas, by exchange, and George A. Hearn Fund, 2005 (2005.390)
Rauschenberg invented a new art form he called "combines," mixed-media hybrids that combine characteristics of painting and sculpture. Rauschenberg is extraordinarily inclusive about materials. Anything is fair game, including traditional media like paint and canvas, but also things found outside the usual art context. He affixed af·fix
tr.v. af·fixed, af·fix·ing, af·fix·es
1. To secure to something; attach: affix a label to a package.
2. bits of fabric, wood, unidentified machinery parts, prints of other artists' work, shirt cuffs, and commercial sign fragments. In the middle, a ladder links the left and right flanks. The wall on which the combine rests is completely visible in this part since there's no backing, and the legs of the ladder rest on the floor. Rauschenberg always invites us to see things differently. Normally, ladders connect vertically, but this ladder bridges space horizontally instead.
Rauschenberg included recognizable imagery and real things, yet there's no narrative, no explicit subject. Meaning is fluid, and we, as viewers, have a major role: to formulate our insights.
Have students make their own "combine" by integrating different art forms.
Stella Paul, museum educator in charge of Exhibitions and Communication, the Metropolitan Museum of Art.