For a thorough understanding of the development of the American art scene in the 1950s and 1960s, it is essential to have a close look on the early work of the forerunner Robert Rauschenberg whose art bridged the way between Abstract Expressionism and Pop Art. In this context, it is equally important to analyze Susan Sontag’s essays on art and style from the mid-1960s which had a precursory function in the art critic world and promoted a new kind of sensibility to the audience.
To understand the development of Rauschenberg’s art concept, which was breathtakingly new at its time, it is inevitable to look at his artistic career and the different influences on his work from artistic models, teachers, and fellow artists. Additionally, an analysis of the 1950s and 1960s art scene and the change of the audience’s reception are equally necessary to recognize the significance of Rauschenberg’s work for its time and beyond. Sontag was one of the first critics to fully acknowledge the importance of Rauschenberg’s ideas for the development of the American art scene. Her essay collection is thus in itself a pioneer work of a new kind of art criticism.
Rauschenberg’s artwork as well as Sontag’s essays on the arts challenged people’s perspective on art and its functions. Even though Sontag only directly refers twice to Rauschenberg’s artwork in her essay collection "Against Interpretations", her ideas of the new kind of art of the late 1950s and early 1960s nevertheless strongly correspond to Rauschenberg’s art concept. The artist and the art critic thus paved the way for a new understanding of art and its reception.
Table of Contents
- I. Introduction
- II. Robert Rauschenberg's New Art
- III. The 'New Sensibility' of Artworks and Art's Reception
- i. "First Landing Jump"
- ii. "Pilgrim"
- IV. Conclusion
Objectives and Key Themes
This text aims to analyze the significance of Robert Rauschenberg's "combines" for the development of the American art scene in the 1950s and 1960s. It connects Rauschenberg's work with the evolving art criticism of Susan Sontag, highlighting their shared vision of a new kind of artistic sensibility.
- The emergence of a "new sensibility" in American art
- Rauschenberg's challenge to traditional definitions of art
- The fusion of everyday objects and art
- The relationship between art and life
- The role of art criticism in shaping artistic discourse
Chapter Summaries
- Introduction: This chapter introduces the central themes of the text, focusing on Robert Rauschenberg's "combines" as a bridge between Abstract Expressionism and Pop Art, and the influence of Susan Sontag's art criticism on the evolving understanding of art in the 1960s. It emphasizes the innovative nature of Rauschenberg's work and its impact on art's reception.
- Robert Rauschenberg's New Art: This chapter delves into Rauschenberg's artistic career, tracing his influences from various artistic models, teachers, and fellow artists. It highlights his unique approach to art and the shift in the art scene during the 1950s and 1960s. The chapter also examines the significance of Rauschenberg's work within the context of its time and beyond.
- The 'New Sensibility' of Artworks and Art's Reception: This chapter analyzes two of Rauschenberg's "combines," "First Landing Jump" and "Pilgrim," exploring their artistic significance and reception. The chapter links these artworks to Susan Sontag's ideas on the new role and function of modern art, emphasizing its ability to influence consciousness and its connection to the real world.
Keywords
Key concepts and terms explored in this text include Robert Rauschenberg's "combines," Abstract Expressionism, Pop Art, Susan Sontag's art criticism, "New Sensibility," the fusion of art and life, the reception of art, and the role of art in shaping consciousness.
- Citation du texte
- Sonja Longolius (Auteur), 2004, Robert Rauschenberg's 'Combines' - Masterpieces of the New Sensibility - Between Abstract Expressionism and Pop Art, Munich, GRIN Verlag, https://www.grin.com/document/41722
