Born 1925
Hometown Port Arthur, Texas
Kansas City Art Institute, Kansas City, MO
Black Mountain College, Buncombe County, NC
New York's Art Students League, New York, NY

Queensland Art Gallery / Gallery of Modern Art, Brisbane, Australia
Art Gallery of New South Wales, Sydney, Australia
Museum Moderner Kunst Stiftung Ludwig - MUMOK, Vienna, Austria
Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brasil
Simon Fraser University Art Gallery, Burnaby, BC, Canada
The Montreal Museum of Fine Arts - Musée des beaux-arts de Montréal, Montreal, QC
Carleton University Art Gallery, Ottawa, ON
Ludwig Forum für Internationale Kunst, Aachen, Germany
Burger Collection, Berlin, Germany
University Art Museum University at Albany, State University of New York, Albany, NY

Gagosian Gallery, Founded in Los Angeles, CA

Robert Rauschenberg imagined himself first as a minister and later as a pharmacist. It wasn't until 1947, while in the U.S. Marines that he discovered his aptitude for drawing and his interest in the artistic representation of everyday objects and people. After leaving the Marines he studied art in Paris on the G.I. Bill, but quickly became disenchanted with the European art scene. After less than a year he moved to North Carolina, where the country's most visionary artists and thinkers, such as Joseph Albers and Buckminster Fuller, were teaching at Black Mountain College. There, with artists such as dancer Merce Cunningham and musician John Cage, Rauschenberg began what was to be an artistic revolution. Soon, North Carolina country life began to seem small and he left for New York to make it as a painter. There, amidst the chaos and excitement of city life, Rauschenberg realized the full extent of what he could bring to painting.

Rauschenberg's enthusiasm for popular culture and his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. He found his signature mode by embracing materials traditionally outside of the artist's reach. He would cover a canvas with house paint, or ink the wheel of a car and run it over paper to create a drawing, while demonstrating rigor and concern for formal painting. By 1958, at the time of his first solo exhibition at the Leo Castelli Gallery, his work had moved from abstract painting to drawings such as Erased De Kooning (1953) (which was exactly as it sounds) to what he termed "combines." These combines (meant to express both the finding and forming of combinations in three-dimensional collage) cemented his place in art history.

Works Available for Purchase

Artworks by the Artist at Fairs


Rock, Paper, Nature
Fall Exhibition | Time & Timeless
Photographic Impressions
Gallery Selections
Warp & Weft
We are the Language
Black & White
Robert Rauschenberg: Rookery Mounds & Selected Series from the 60s and 70s
Robert Rauschenberg
Blackness in Abstraction
Unfinished: Thoughts Left Visible
In the Making
Winter Group Exhibition
Rotating Group Show
Anagrams, Arcadian Retreats, Anagrams (a Pun)


The Art of the Botch Job
Ten Depictions of the Cosmos by Modern Masters
Jonathan Katz on Rauschenberg, Homosexuality and Assemblage
Robert Rauschenberg's Innovations in Art
Words, Thoughts, and Phrases: Ed Ruscha's Literary Pop Paintings
Steal Vs. Splurge: Don't Pay Auction Prices for Big-Name Artists
Lawrence Weiner On His Sensual Approach to Conceptual Art
What Was Dematerialization?
21 Big Ideas From the Year We Loved to Hate
10 Artists to Watch This December
Here's How 10 Masterpieces Got Sold at Christie's
10 Epic Masterpieces That Sold at Christie's
“I Made Myself Up!”: McArthur Binion on His Path
Seven Seminal MoMA Shows From the Swinging 1960s
How to Pair Artworks at Home With the Color Wheel
In Search of a More Equal Art History: A Q&A
Respect Your Selfie: Why Portraits Reign Supreme
5 Lessons From New York's Spring Evening Sales
5 Key Works That Chart the Digital Art Revolution
An Afternoon With Erró, Iceland's Lichtenstein
10 Artists to Watch This January
Ellsworth Kelly on the "Great Joy" of His Art
How the Art World Jettisoned Chronology in 2015
9 Artist/Architects You Should Know
How Rachel Harrison Took on Charles Darwin
6 of the Most Important Artist-Run Magazines
50 Stylish Paintings at Frieze London 2015
10 of the Best Artworks at EXPO CHICAGO 2015
Jessica Jackson Hutchins on Portland's Art Scene
The Rise of Figural Non-Objectivity
Art Rank's Carlos Rivera on the Flipper Uprising
Going Through Rauschenberg's Stuff & More
The Revolution Was Televised: Art on the Tube
Alain Servais on Art-Market Insider Trading
Getting Crafty With the Art Kids at NADA NY
How to Understand the 2015 Venice Biennale Lineup
Building a Minimalist Beach House for a Megacollector’s Art
First, Do No Harm: The Cardinal Rules of Framing
Donna De Salvo on the Whitney Museum's New World
Jacolby Satterwhite on Why Björk’s His Role Model
10 Artists to Watch This February
10 of the Best Artworks at FIAC 2014
10 of the Best Artworks at Frieze London 2014
How to Think About Conceptual Art
8 of the Best Artworks at EXPO Chicago 2014
Know Your Critics: What Did Leo Steinberg Do?
8 Ways Artists Have Waged War on Canvas
MoMA's Jay Levenson on Reinventing Modernism
What Did Clement Greenberg Do?
10 of Art History's Most Important Defunct Galleries
A Brief History of Art Basel
Collector Adam Lindemann on Picking Winners
What Did Duchamp Do? Surveying 9 Major Artworks
6 More Bleeding-Edge Museum Technocrats to Watch
Our Guide to the Acronyms of the Art World
Could Silicon Valley's Fair Be the Next Basel?
A Genealogy of Artists & Their Assistants
The Many Faces of the 2014 Whitney Biennial
Steven Sacks on How to Collect New Media Art
A Heroic German Dealer Gets His Due & More
How the Art World Caught Archive Fever
On Isa Genzken’s Schizoconsumerist Aesthetic
Ileana Sonnabend's Collection Comes to MoMA
Meet the Neo-Dadaists


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