Footnotes

Provenance
The Artist's Collection, New York.
Galerie Jamileh Weber, Zurich.
Acquired from the above by the present owner in 2003.

Exhibited
Hiroshima City, Hiroshima City Museum of Contemporary Art, The Second Hiroshima Art Prize: Robert Rauschenberg, 3 November 1993 - 16 January 1994, no. 105.
New York, Solomon R. Guggenheim Museum, Robert Rauschenberg: A Retrospective, 19 September 1997 - 7 January 1998, no. 429.

Literature
S. Hunter, Robert Rauschenberg, New York, 1999 (illustrated p. 109).



With its luminous, subtly reflective brass surface and striking combination of painted imagery and tarnish, Cradle Tilt (Borealis) from 1991 stands as an outstanding example from Robert Rauschenberg's celebrated Borealis series of metal paintings created during the Rauschenberg Overseas Culture Interchange project (ROCI) which he initiated in the 1980s. Throughout his 60-year career, Rauschenberg explored a diverse range of media ranging from painting, sculpture and fabric collage to printmaking, photography, and performance, to name a few. He challenged the conventions of gestural abstract painting at a time when Abstract Expressionism dominated American art. Studying at the renowned Black Mountain College under Josef Albers, Rauschenberg quickly became one of the most influential and experimental artists of his era and played a pivotal role in nearly every post-war artistic movement that followed Abstract Expressionism. He was the first American to receive the Golden Lion, the highest honour at the Venice Biennale, in 1964.

The ROCI project was a major international endeavour whereby Rauschenberg created art in collaboration with various global communities. The aim was to engage with different cultures and create works that reflected the world's diversity, with Rauschenberg producing art in places such as China, Mexico, and Cuba, among others. The Borealis paintings were specifically created during Rauschenberg's time in Alaska, where he was inspired by the Northern Lights (Aurora Borealis). This series stands out as one of his most celebrated and intriguing periods, showcasing Rauschenberg's use of light, colour and layered textures, all whilst combining the artist's engagement with global cultural exploration and nature, pivotal to the ROCI's philosophy.

Rich and undulating hues permeate the surface of Cradle Tilt (Borealis), an effect that was achieved by applying tarnish-resistant medium to parts of the metallic support and then painting the surface over with a tarnishing agent such as such as acetic acid and ammonium salts. In this way Rauschenberg created colouristic distinctions of greens, blacks and other earthy tones, mimicking the harmonious colour variations in the natural phenomenon. Rauschenberg was deeply fascinated by the way light behaves in the natural world and the Northern Lights themselves are a visual representation of natural forces beyond human control, embodying beauty, mystery, and impermanence. By choosing the aurora as a central motif, Rauschenberg suggests the delicate and ever-changing nature of life, emotions, and human experience.

Rauschenberg sought to avoid creating paintings with a fixed meaning; instead, his works are a collection of motifs that invite viewers to embark on their own personal journey, shaped by their individual thoughts, perceptions, and emotions. This present work stands as a remarkable example of some of his most iconic techniques, commanding attention with its bold and captivating presence. Rauschenberg's influence on art history continues to resonate today, with his works remaining highly sought after and prominently displayed in some of the world's most esteemed public and private collections, including the Centre Georges Pompidou in Paris, the Guggenheim Bilbao, the Louisiana Museum of Modern Art in Humlebaek, Moderna Museet in Stockholm, the Stedelijk Museum in Amsterdam, and the Museum of Modern Art in New York.

Cradle Tilt (Borealis) is a beautiful and meaningful work that encapsulates Rauschenberg's unique approach to artmaking. By combining metal and paint, he creates a work that both embodies and reflects the themes of light, transformation, and the ephemeral nature of the world. The reflective surface not only evokes the physical phenomenon of the Aurora Borealis but also encourages interaction with the viewer, drawing attention to the interconnection of nature, art, and human experience. The layers of media and texture mirror the complex and multifaceted nature of life, while the work's shifting, dynamic quality reinforces the idea that the world is constantly in motion, resulting in a truly compelling masterpiece.