The Social Contextualisation Of Robert Rauschenberg's Erased De Kooning Drawing?

In the late 1950s, Rauschenberg began to make the groundbreaking works he dubbed Combines. These works inspired Leo Steinberg’s theorization of the “flatbed picture plane.” This term was posited in his essay “Reflections on the State of Criticism.” The essay’s first manifestation was as a lecture given at the Museum of Modern Art in March 1968, and was subsequently published in Artforum in 1972. Notably, it was also the title essay in Steinberg’s book Other Criteria: Confrontation with Twentieth-Century Art, of 1972. Steinberg’s notion of the flatbed picture plane has several facets. This picture plane relies on the actual flatness of the painting’s surface, the horizontality of the work’s construction and reception, an interaction between

Drawing served as the stepping stone for more finished pieces of art like paintings, sculptures, and architecture. With the ability to depict figures and nature, artists could then consider composition when preparing for final productions of art. Sketching gave the artists the ability to explore different options before choosing the final solution that would make up the final piece. Jan van Eyck is a good example of someone who used under drawings to prepare his final paintings. In particular, the piece Portrait of Niccolo Albergati demonstrates the final decisions van Eyck made before painting. However, even in the final piece, changes were still made to the portraits features while applying the paint. Under drawings could be used to show the patron what the final will look like, or it could simply be for the artists’ own reference. Within the drawing, as stated before, compositional studies can be carried out, as well as lighting and shadows. The drawing essentially creates a

subject’s action. Many works of his time period were sculptures that were meant to be

permanence to the intended viewer at the time. It's clear that this artist was comissioned

Marcel Duchamp stated that "It was his achievement to treat the camera as he treated the paintbrush, as a mere instrument at the service of the mind” (Biography.com, 2017). In addition, the photogram might seem expressive and abstract, yet on the contrary, it is the precise medium to document the everyday objects in an unrepeatable and somehow uncontrollable way. The artist cannot predict how the selected objects will be recorded under the light sources that were tampered with. From the first glance, the image completely dissociated from its original subject, allowing one’s memory to fill the gap. Yet below its surface, the image is an accurate documentation that captured a moment of psychical intensity. It revealed a new visual experience, using objects in the simplest way. One can say that the use of this medium disclosed reality more preciously due to its invisibility and mysterious representation (The Museum of Modern Art, 2017).

it's conjointly thought attainable that Miss Organ World Health Organization was heir to the Henri estate may even have in her possession a photograph of John J. Cozad. This well-tried to be true and on Gregorian calendar month fifteen, 1956, she gracefully armored not solely a photograph of Robert Henri however conjointly variety of images of his paintings in conjunction with 2 rare previous family images of man. Cozad, the sole 2 that area unit famous to exist. They weren't solely rare however invaluable. Negatives are product of the first images of man.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

The painting of Prof. Felix Walter (Figure 1) made with watercolour on paper on stretcher by Charles Fraser Comfort stands out as an intriguing piece of artwork because of the visual choices C. F. Comfort has produced. I was able to appreciate this work as I had the privilege of attending the Nuit Blanche exhibit at the Winnipeg Art Gallery, Winnipeg on the first of October, 2016 where Prof. Felix Walter was in display at. I found this particular artistry stood out because of its placement in dominance from the other paintings, the use of contrasting styles using the same medium and the bold textures that divulge the prominence of the subject. The artist, C. F. Comfort is worth being aware of because of his exceptional work such as this painting. The composition fashioned by the art gallery should also be duly noted as it took part in making this particular piece stand out.

there was a lot to be discussed at this time many murals were made with

His early paintings had an unconventional, unique, and unfinished look about them. The images were known to everyone in everyday life.

n response to the assassination of the communist leader Karl Libbknecht during the Germany uprising movement, Käthe Kollwitz created this woodcut heightened with white And Black Ink piece. After WWI, many artists started to use printmaking instead of original drawing or painting. They believed their political statements could be quickly sent out in this way. So did Käthe. As an anti-war supporter, she switched her art style from etching to printmaking. After Karl’s death, his family asked Käthe to create an art piece to memory his life. Käthe was not a communist, she even supported SPD than KPD.At first, she experienced a lot on drawing and painting to create this piece. But she was not satisfied with her early finished work. She thought etching

Nevertheless, the argumentation would only be reliable if the painter of the portrait is truly Rembrandt. In 1969, H. Gerson, a well-known Rembrandt scholar, expressed his doubt that Rembrandt painted the portrait, suggested that Rembrandt's pupil Jacob Backer painted the portrait instead, and based his argument on details in the painting he believed showed that Rembrandt did not paint it, for example the way how the painting of the hands was performed (Brook and Oja). He is not the only scholar who has doubts. In his letter reacting to Hevesy's publication in 1936, J.S. Held suggests that the music scroll must have been added later (Held). However, the legitimacy of the portrait has been generally accepted.

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

Art, in essence, is one of the most crucial pieces of cultural history. It transcends language, emanates emotion, provokes thought, and stimulates imagination. In other words, art is of monumental value in its scope of what befalls under its umbrella. It was no wonder why during the Nazi regime from 1933 - 1945 that the Nazis would thieve some of Europe’s most treasured works but also those deemed “degenerate.” Egon Schiele’s Portrait of Wally is a perfect example as to what “degenerate” art would be considered and what the Nazis would have been interested in seizing, but why?

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.