Publication

Bernice Rose on Robert Rauschenberg's Arcadian Retreats, 1997

Part of Rauschenberg Research Project Home

  • Bernice Rose on Robert Rauschenbergs <em>Arcadian Retreats</em>, 1997

    Bernice Rose, Rauschenberg: Arcadian Retreats (New York: PaceWildenstein, 1997), 5–11. 

  • Detail of Robert Rauschenberg's Catastrophe (Arcadian Retreat) showing the artist's signature

    Robert Rauschenberg, Catastrophe (Arcadian Retreat), 1996 (detail)

  • Detail of Robert Rauschenberg's Catastrophe (Arcadian Retreat) showing frame and metal support

    Robert Rauschenberg, Catastrophe (Arcadian Retreat), 1996 (detail)

  • Detail of Robert Rauschenberg's Catastrophe (Arcadian Retreat) showing troweled plaster edge

    Robert Rauschenberg, Catastrophe (Arcadian Retreat), 1996 (detail)

  • Detail of verso of Robert Rauschenberg's Catastrophe (Arcadian Retreat) showing backing board

    Robert Rauschenberg, Catastrophe (Arcadian Retreat), 1996 (detail of verso)

  • Donald Saff and Robert Rauschenberg in the studio with Party Line (Arcadian Retreat)

    Donald Saff and Robert Rauschenberg with Party Line (Arcadian Retreat) (1996) in the artist's studio on Captiva Island, Florida, 1996. Courtesy Saff Tech Arts, Oxford, MD. Photo: George Holzer

  • Catastrophe (Arcadian Retreat)

    Robert Rauschenberg, Catastrophe (Arcadian Retreat), inkjet transfer and wax on fresco panels, 111 in. x 75 in. (281.94 cm x 190.5 cm); Gift of Vicki and Kent Logan; ┬ę Robert Rauschenberg Foundation / Licensed by VAGA, New York, NY


In this essay, written for a catalogue published in conjunction with the first exhibition of the Arcadian Retreats, art historian Bernice Rose links the series to the legend of Alexander the Great. She argues that in these works Rauschenberg is drawing on the tradition of Renaissance wall paintings, a form that represents a “visual parallel to epic poetry,” to develop deeply layered works that reference memory, time, and identity.


Transcript