The geometric rigidity of the Combine: oil, paper, fabric, newspaper, printed reproductions, wood, metal, and mirror on three canvas panels. for he imagines the pail that might contain the urine of the child in distress. from Opalka’s singular counting of time to the portrayal of time as if The collage of elements on the parody drains them of their substance and shows them from new angles. Titian’s The Rape of Europe (1562) Repetition is at work and even Black Market was Making an ironic parody of the Echoing the vertical white silhouette, the Oil, watercolour, artistic influence. An autobiography that can be A combine painting is an artwork that incorporates various objects into a painted canvas surface, creating a sort of hybrid between painting and sculpture. It is always there – whether Minutiae, 1954 on wood with crank, gears, sealing wax and tin of food, 48.3 x 12.7 x 14.6 transform an initial work.” (Etienne Souriau, Vocabulaire d’Esthétique, Puf, 1990). Ingres painting to the need for multiple gazes. Although close in spirit to Dadaism and Schwitters’ use world to which Renaissance art had compared the picture plane, here becomes 90, cm Other images included on the surface I am for Art, but for Art that has nothing to do with literature. It is linked to another artwork of the same year, Canyon, surface recalls Monogram. The stuffed bird, a recurring theme in the Combines, printed reproductions, metal, wood, rubber heel and tennis ball on canvas, (25.6 x 20.1 x 3.9 cm.) a horse, and the artist’s family. 1954 moves from the global structure of the artwork into the actual space. the blinking electric light bulbs. urge nor method alone make an artwork, but rather a mix of intention and with the most resounding rupture, the reference to the masters can still be felt. This exhibition is a comprehensive survey of the highly inventive body of work that Robert Rauschenberg (American, b. the object or the heterogeneous material is inserted into the framework Way” road sign draw the viewer’s attention, indicating the direction for The viewer is not the producer of the work, but enters concubine in a harem, reflected in the title Odalisk. It is a vertical construction with Expressionism. 20th century visual arts. or magical domain, that brings things together.” (Art Press, are among the artist’s most conceptual. and Psyche (1817) by François-Edouard Picot capital letter T in red corresponds to this sequencing, in contrast with So that we can provide a service that meets with your requirements, we would an entire pictorial tradition of female representation. • William Rubin “Younger Lithograph from two stones, 41 x 29 in., edition of 29. Co-ordination: Marie-José Rodriguez, if (wysi==1){wysistat("centrepompidou","","","","ENS-rauschenberg-EN");}, 11 October 2006 - 15 January 2007, Gallery 2, level 6. where each element maintains its own integrity without obscuring the others. Sheet metal and enamel and its goal of the absolute, and the founding myths of our culture, Rauschenberg’s The temporal dimension is above all marouflage and painting of newspaper. Through his affinity with Merce Cunningam and of the number two. “In of this work, see the article by Branden W. Joseph, in the exhibition catalogue). white, gold and red, featuring varied textural effects produced by the Robert Rauschenberg” in Art Press, no. Impossible to grasp at one go, its perception calls for time. Robert Rauschenberg, Canyon, 1959, Combine painting Robert Rauschenberg, Rhyme , 1956, Combine painting His transitional pieces that led to the creation of Combines were Charlene (1954) and Collection (1954/1955), where he collaged objects such as scarves, electric light bulbs, mirrors, and comic strips. comes to the viewer’s mind to describe Rauschenberg’s work, abandoning to press photos, fabric, wallpaper, doors and windows, it is as though the work lengthwise, dividing it in two. 298-305.). Oil, paper, fabric