Robert
Rauschenberg

Rauschenberg's "Combines," created primarily in the 1950s and 1960s, are among his most significant and influential contributions to the art world. These works defy traditional classification, seamlessly blending aspects of painting and sculpture to create a new, hybrid form of art. The term "Combine" aptly describes Rauschenberg's process of combining non-traditional materials and objects, which he sourced from his everyday surroundings, into his artworks. Rauschenberg incorporated items like newspaper clippings, fabric, furniture, clothing and even taxidermied animals into his works. These objects were integrated into the composition, making them fundamental aspects of the artwork. This approach broke down the barriers between art and life, reflecting Rauschenberg's belief that art could be made from anything and that the materials themselves could carry meaning. One of the most famous Combines is Bed, created by using a quilt and pillow, which Rauschenberg splattered with paint. The piece blurs the line between an art object and a functional object, challenging the viewer's perception of its categorisation. Another notable Combine is Monogram, which features a stuffed goat encircled by a tire, standing on a painted canvas. This work exemplifies Rauschenberg's innovative use of materials and his playful yet provocative approach to art.

The Combines were initially met with mixed reactions. Some critics and viewers were perplexed or even outraged by Rauschenberg's use of mundane and sometimes bizarre objects. However, over time, they came to be celebrated for their groundbreaking approach and their influence on later art movements, particularly Pop Art. The Combines challenged traditional notion of the artist as a creator of entirely original works, instead presenting the artist as someone who recontextualises found objects into new, meaningful compositions.

Rauschenberg's Combines also reflected his interest in collaboration and interaction. He often worked with other artists, dancers, and musicians, seeing his art as part of a broader cultural and social dialogue.

One of the most notable and controversial acts in Rauschenberg's career was his Erased De Kooning Drawing from 1953. This act was both an artistic statement and a pioneering conceptual work. Rauschenberg, then a relatively unknown young artist, approached the well-established abstract expressionist Willem de Kooning for a drawing to erase. The idea was to create a new work of art through the act of erasing another artist's work.

De Kooning, intrigued by the concept, agreed to participate and deliberately chose a drawing that he thought would be difficult to erase. The chosen piece was a complex, multimedia drawing with layers of crayon, ink, pencil and charcoal. It took Rauschenberg several weeks to erase the drawing completely.

Erased de Kooning Drawing was a groundbreaking act in several respects: it was an early example of what would later be known as conceptual art, where the idea behind the artwork took precedence over the visual aspect of the art itself. It also raised questions about the nature of art and authorship, as Rauschenberg's act of erasing another artist's work and presenting it as his own challenged traditional notions of creation and destruction in art.

The piece also can be seen as a symbolic act of rebellion against the traditional art styles of the time. It remains a controversial and influential work in the history of modern art. It symbolises a transition from the gestural, painterly techniques of the early 20th century to the more conceptual and interrogative art forms that emerged in the latter half of the century. This work encapsulates Rauschenberg's innovative and provocative approach, constantly challenging and redefining the boundaries of what art could be.

Rauschenberg's relationship with Jasper Johns was personal and professional, significantly impacting the careers and artistic developments of both artists. They met in the early 1950s, a time when Rauschenberg was beginning to make a name for himself. Johns, who was then a relatively unknown artist, found in Rauschenberg a romantic partner, a creative collaborator and an intellectual companion. Their relationship blossomed in an era when both were exploring new artistic territories and Rauschenberg's influence on Johns can be seen in his early works, which also started to incorporate everyday objects. Similarly, Johns' meticulous, emblematic style influenced Rauschenberg’s approach, especially in his use of surface and texture. During this time, they shared a studio in Lower Manhattan, a focal point for what would later be known as the Neo-Dada movement.

This period was marked by a cross-pollination of ideas between the two artists as they challenged each other's ideas about art. Their collaborations and mutual influence played a crucial role in the transition from Abstract Expressionism to the more object-oriented approaches of Pop Art and Minimalism. Beyond their artworks, Rauschenberg and Johns were part of a larger network of artists, dancers and musicians, contributing to a vibrant cultural scene in New York. This circle included figures like Merce Cunningham and John Cage, with whom they frequently collaborated, creating a fertile environment for interdisciplinary avant-garde artistic exploration.

Although their relationship eventually ended, the impact of their partnership continued to resonate in their work and their time together marked a significant phase in the history of modern art. Rauschenberg and Johns, through their relationship and collaborative work, helped pave the way for new artistic expressions and movements. Their influence extended beyond their personal connection, leaving a lasting mark on the art world and on each other's creative journeys.