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This 4 page paper is a philosophical treatise on the essence of imagination as it relates to the creation of art. Gaugin, Munch, Picasso, Raschenberg discussed and exampled. MA level paper.Bibliography lists 4 sources.
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4 pages (~225 words per page)
File: D0_MBnuart.rtf
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despite the artists ability to discover it. One of mans greatest gifts and which seems to make him unique amongst other mammals is his proclivity to imagine, create, represent. It
is this singular gift that has survived from one generation of artist to the next and is the same gift which will follow mankind into the next millennium. Several
artists exemplify this concept quite well. Robert Rauschenbergs imagination took him a different course than many of the abstract expressionists who had come before him. His attempts to study art
in Paris and to fit into the mold of the current techniques being taught frustrated him. One would think that perhaps the schools had become confining in the respect that
they did not afford the opportunity for the art student to explore and find their own artistic voice and instead were relegated to reproducing the same types of artwork as
their instructors. Raschenberg found this confining. When one considers Raschenbergs distaste for the formality of the art schools, then his work begins to take on new dimensions and messages.
He left the art school in Paris, came back to the United States and found his voice. Like the rustic poets of the past, he embraced the art in the
ordinary. For example, the treadmarks that a car makes in the mud he translated into a tires treads rolled through paint and applied to a canvas. However, if it were
as simple as that, anyone could do it. His work, while featuring the mundane, highlighted the same types of form and structure of any artistic piece. In Raschenberg, then,
one sees the imagination and creativity finding a way to express itself. His creation of the idea of combines would usher in a new era of mixed media art. On
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