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Following on from the author's book-length study of Robert Rauschenberg's celebrated series of drawings after Dante's Inferno, this article has three distinct aims: first, and referring to several newly discovered sources, to develop a more precise account of the chronology of Rauschenberg’s project, arguing for the need to revise its current dating. Secondly, to demonstrate how such discoveries might enrich interpretations of specific drawings; and, lastly, to consider the consequences of the foregoing in relation to Rauschenberg’s working method.
|Number of pages||12|
|Publication status||Published - 1 Dec 2017|
- Frank O'Hara