[{"data":1,"prerenderedAt":1722},["ShallowReactive",2],{"globals:footer":3,"page:essay:scatole-e-fettici":40},{"address":4,"info":5,"links":17,"phone":26,"socialMediaLinks":27},"381 Lafayette Street, New York, NY 10003\ncr@rauschenbergfoundation.org",[6],{"_key":7,"_type":8,"children":9,"markDefs":15,"style":16},"599e2a9f6700","block",[10],{"_key":11,"_type":12,"marks":13,"text":14},"bed078f5368d","span",[],"The Robert Rauschenberg Foundation builds on the legacy of artist Robert Rauschenberg, emphasizing his belief that artists can drive social change. Rauschenberg sought to act in the “gap” between art and life, valuing chance and collaboration across disciplines. As such, the Foundation celebrates new and even untested ways of thinking.",[],"normal",[18,22],{"_key":19,"label":20,"url":21},"fa4381e0935e","Terms and Conditions","https:\u002F\u002Fwww.rauschenbergfoundation.org\u002Ffoundation\u002Fterms-and-conditions",{"_key":23,"label":24,"url":25},"9384c6a8f419","Join Mailing List","https:\u002F\u002Frauschenbergfoundation.org\u002Fjoin-our-mailing-list","212.228.5283",[28,32,36],{"_key":29,"label":30,"url":31},"a261f817c586","Facebook","https:\u002F\u002Fwww.facebook.com\u002FRauschenbergFoundation",{"_key":33,"label":34,"url":35},"7b0ed283daed","Instagram","https:\u002F\u002Finstagram.com\u002Frauschenbergfoundation",{"_key":37,"label":38,"url":39},"2a80bf504b70","Vimeo","https:\u002F\u002Fvimeo.com\u002Frauschenbergfoundation",{"_createdAt":41,"_id":42,"_rev":43,"_system":44,"_type":47,"_updatedAt":48,"author":49,"authorBio":50,"body":72,"chronologyBody":1603,"citeAs":1604,"epigraph":1634,"essayType":1667,"paragraphStyle":1668,"pdfUrl":1603,"subtitle":1669,"title":1686,"tocPreviewTitle":1694,"uid":1719},"2026-08-05T17:20:39Z","61afba21-145e-4fdd-948f-01e4ae3a621d","AT3m2ak6bZ701LMshpwYLk",{"base":45},{"id":42,"rev":46},"AT3m2ak6bZ701LMshpvMq0","essay","2026-10-22T16:55:24Z","Giorgio Di Domenico",[51],{"_key":52,"_type":8,"children":53,"markDefs":71,"style":16},"eb2c5991945e",[54,58,62,67],{"_key":55,"_type":12,"marks":56,"text":49},"1b7a7737f4eb",[57],"strong",{"_key":59,"_type":12,"marks":60,"text":61},"c80ef0ed46a1",[]," is a research fellow at the Scuola Normale Superiore, Pisa, where he received his PhD in 2025 with a dissertation on the Italian reception of Surrealism from 1959 to 1977. He also studied at New York University’s Casa Italiana Zerilli-Marimò and was a research fellow at the Center for Italian Modern Art (CIMA), New York. He is the author of a monograph on the 1970s artists’ magazine ",{"_key":63,"_type":12,"marks":64,"text":66},"2f5c83ee7b00",[65],"em","La Città di Riga",{"_key":68,"_type":12,"marks":69,"text":70},"8f8a5f32a93b",[]," and has published essays and articles on postwar Italian art, the relationship between Alberto Burri and Robert Rauschenberg, and the Italian reception of Dada and Surrealism. He writes and publishes regularly about contemporary art.",[],[73,95,268,696,1081,1292,1517],{"_key":74,"_type":75,"content":76},"803abf6bbf16","richText",[77,86],{"_key":78,"_type":8,"children":79,"markDefs":85,"style":16},"57a34d08bcde",[80],{"_key":81,"_type":12,"marks":82,"text":84},"6ba5385dffd2",[83],"forceUnindent","As children we all had a box which we kept hidden; it contained a butterfly wing, a beetle, a lucky penny. For each, that box was private, intimate, and secret; and yet we all (most of us) had it. Communication of art is between those boxes, between subjectives, the secret that we all share, each privately.",[],{"_key":87,"_type":8,"children":88,"markDefs":93,"style":94},"4c786e210bc9",[89],{"_key":90,"_type":12,"marks":91,"text":92},"0b06014fb808",[],"—Maya Deren, 1951",[],"attribution",{"_key":96,"_type":97,"content":98,"images":233},"ae6b62c7b773","textImage",[99,163],{"_key":100,"_type":8,"children":101,"markDefs":143,"style":16},"83d34606c39e",[102,106,110,114,119,123,127,131,135,139],{"_key":103,"_type":12,"marks":104,"text":105},"664126884f10",[83],"The filmmaker Maya Deren’s comments at a Cleveland Museum of Art talk in 1951 encapsulate much of the spirit of Robert Rauschenberg’s ",{"_key":107,"_type":12,"marks":108,"text":109},"cc40c5cee8e3",[65,83],"Scatole e Feticci Personali",{"_key":111,"_type":12,"marks":112,"text":113},"bd5e0df1406b",[83],". ",{"_key":115,"_type":12,"marks":116,"text":118},"f13d54b2d174",[117,83],"2790af82de55","As a child, Rauschenberg gathered similar materials, and this youthful pastime likely played a role in his creation, as an adult, of such works as the ",{"_key":120,"_type":12,"marks":121,"text":122},"257d73a82777",[65,117,83],"Scatole.",{"_key":124,"_type":12,"marks":125,"text":126},"57ef374aa56f",[83]," More pertinently, each of the adjectives used by Deren—“private,” “intimate,” “secret”—sheds light on a different aspect of the modifier, ",{"_key":128,"_type":12,"marks":129,"text":130},"3d9e15323e6f",[65,83],"personali",{"_key":132,"_type":12,"marks":133,"text":134},"08434c8be31c",[83],", that was attached to the ",{"_key":136,"_type":12,"marks":137,"text":138},"c5d8ae03827a",[65,83],"Scatole e Feticci",{"_key":140,"_type":12,"marks":141,"text":142},"0774de2c9ecc",[83]," when they were first exhibited in March 1953 at Galleria dell’Obelisco in Rome.",[144],{"_key":117,"_type":145,"text":146},"footnote",[147],{"_key":148,"_type":8,"children":149,"markDefs":162,"style":16},"f950b455b297",[150,154,158],{"_key":151,"_type":12,"marks":152,"text":153},"d242d1b79a82",[],"While there is no record of Rauschenberg referring to an individual box as such, I refer to an individual work in the series by the singular ",{"_key":155,"_type":12,"marks":156,"text":157},"8613ac5d1fe7",[65],"Scatola ",{"_key":159,"_type":12,"marks":160,"text":161},"d737e75a24c5",[],"(“box”).",[],{"_key":164,"_type":8,"children":165,"markDefs":180,"style":16},"dda2e8e17040",[166,171,175],{"_key":167,"_type":12,"marks":168,"text":170},"a8502634bc05",[169],"e20acd323dce","As Rauschenberg noted in a typewritten statement produced at the time (fig. 1), the show, organized shortly after his return from a long trip to North Africa and Spain, was “posted as: Scatole e Feticci Personali.”",{"_key":172,"_type":12,"marks":173,"text":174},"670f52889416",[]," The title can be translated either as “boxes and personal fetishes” or as “personal boxes and fetishes.” I would opt for the latter, for I consider all the works “personal.” ",{"_key":176,"_type":12,"marks":177,"text":179},"83b9490799bb",[178],"9bd8c38860e4","However, just half a week after the conclusion of the Rome presentation, when the exhibition opened in Florence, no trace remained of that unexpected adjective. There, the works were presented as “contemplative.”",[181,207],{"_key":169,"_type":145,"text":182},[183],{"_key":184,"_type":8,"children":185,"markDefs":206,"style":16},"4045e2ed2e56",[186,190,194,198,202],{"_key":187,"_type":12,"marks":188,"text":189},"9ce7a6708d57",[],"Rauschenberg’s typed statement with handwritten edits for Galleria dell’Obelisco exhibition, Robert Rauschenberg Papers, RRF Archives. It is unclear whether the artist bestowed the title himself or the gallerists came up with it, as he did not speak Italian. For a detailed account of the exhibition, see Rossella Caruso, “Robert Rauschenberg alla Galleria L’Obelisco: ",{"_key":191,"_type":12,"marks":192,"text":193},"6825a49204cb",[65],"Scatole e feticci personali",{"_key":195,"_type":12,"marks":196,"text":197},"95eaa7c09080",[],",” in ",{"_key":199,"_type":12,"marks":200,"text":201},"34bb3714807d",[65],"Irene Brin, Gaspero del Corso e la Galleria L’Obelisco",{"_key":203,"_type":12,"marks":204,"text":205},"b21e39f5de50",[],", ed. Vittoria Caterina Caratozzolo et al. (Rome: Drago, 2018), pp. 204–15.",[],{"_key":178,"_type":145,"text":208},[209],{"_key":210,"_type":8,"children":211,"markDefs":232,"style":16},"63e9402a2515",[212,216,220,224,228],{"_key":213,"_type":12,"marks":214,"text":215},"a4e6f6ec089c",[],"On the invitation card, the Florence exhibition, held at Galleria d’Arte Contemporanea, is titled ",{"_key":217,"_type":12,"marks":218,"text":219},"bb07cef67e4b",[65],"Scatole e costruzioni contemplative di Bob Rauschenberg",{"_key":221,"_type":12,"marks":222,"text":223},"a37ac6c50dd3",[]," (literally, “contemplative boxes and constructions by Bob Rauschenberg”). The artist seemed to have referred to the works variously, and interchangeably, during his lifetime, calling them “fetishes,” “boxes,” “rope objects and boxes,” and “rope pieces and box pieces.” Calvin Tomkins translated “scatole … contemplative” as “thought boxes” in Tomkins, “Profiles: Moving Out,” ",{"_key":225,"_type":12,"marks":226,"text":227},"8cba13272ab2",[65],"New Yorker ",{"_key":229,"_type":12,"marks":230,"text":231},"de262dc72f88",[],"40, no. 2 (Feb. 29, 1964), p. 62.",[],[234],{"_key":235,"_type":236,"alt":237,"asset":238,"caption":243,"url":267},"8353c11f470e","textImageItem","A small, decorative box with a painted design featuring a glass and checkered pattern, accompanied by colorful threads and tassels.",{"_type":239,"asset":240},"image",{"_ref":241,"_type":242},"image-1b59a5d6779b9366f91fb33f823d6e23f8b37bcf-8362x5240-jpg","reference",[244],{"_key":245,"_type":8,"children":246,"markDefs":263,"style":16},"5545a56d74ee",[247,252,256,259],{"_key":248,"_type":12,"marks":249,"text":251},"4af35cb1a966",[250],"87678f2500a7","62",{"_key":253,"_type":12,"marks":254,"text":255},"828e202c62f1",[]," Untitled (",{"_key":257,"_type":12,"marks":258,"text":109},"5cd4ff00b6f5",[65],{"_key":260,"_type":12,"marks":261,"text":262},"8f6dec267f4e",[],"), ca. 1953. Wood box, paint, printed paper, bird skull, fabric, photograph, ribbon, paper, string, thread, twine, feathers, tassels, bell, and rhinestone; box (closed) 2⅛ × 4⅝ × 1¾ in. (5.4 × 11.9 × 4.4 cm). The Menil Collection, Houston",[264],{"_key":250,"_type":265,"crNo":266},"crLink","52.021","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002F1b59a5d6779b9366f91fb33f823d6e23f8b37bcf-8362x5240.jpg",{"_key":269,"_type":97,"content":270,"images":671},"e9554af9bde9",[271,392],{"_key":272,"_type":8,"children":273,"markDefs":324,"style":16},"6f73548db17a",[274,278,282,285,289,293,297,302,306,311,315,320],{"_key":275,"_type":12,"marks":276,"text":277},"3df010f1f921",[65],"Untitled ",{"_key":279,"_type":12,"marks":280,"text":281},"582d1e77f8ad",[],"(",{"_key":283,"_type":12,"marks":284,"text":109},"b893b256b5c7",[65],{"_key":286,"_type":12,"marks":287,"text":288},"314bb0f6da70",[]," ) (",{"_key":290,"_type":12,"marks":291,"text":251},"78ccb80fc168",[292],"504fbe17baeb",{"_key":294,"_type":12,"marks":295,"text":296},"f6ff4781b77d",[],"), now in the Menil Collection, Houston, holds a special place within the series. The work is described in detail in the statement that accompanied the Rome exhibition: “In one case the skull of a bird has been decorated in a rich false history and tassels with a bell on a string attached to her in reminiscence of her song.” ",{"_key":298,"_type":12,"marks":299,"text":301},"8de0cb90fdad",[300],"f938426cabfb","The skull is housed in a small wood container, perhaps a box that originally held pencils or thread.",{"_key":303,"_type":12,"marks":304,"text":305},"7d53c4846bcb",[]," The container is decorated as profusely as its contents, to a degree unique in the series. ",{"_key":307,"_type":12,"marks":308,"text":310},"c91f8f5b6414",[309],"5f3c2dbb9b8c","The artist collaged the box with fabric fragments and bits of paper, some of which contain Arabic script (fig. 2), as well as prints taken from scientific books, including one of the head of a bird of prey in profile.",{"_key":312,"_type":12,"marks":313,"text":314},"0edd35ef81c8",[]," On the inside is a less technical, more colorful picture of a rooster. Affixed to one end of the top of the lid is a rectangular flap of black fabric to which the artist added squares of white fabric, creating a checked pattern. ",{"_key":316,"_type":12,"marks":317,"text":319},"0b8fa3d2a9fb",[318],"3010c02a5498","When the flap is raised, it reveals a printed Arabic text adhered to its underside and, attached to the lid below, a trimmed photograph of a horse-drawn carriage taken by Rauschenberg in Morocco.",{"_key":321,"_type":12,"marks":322,"text":323},"45150dc991eb",[]," The overall enigma of the work is heightened through this layering and juxtaposition of materials.",[325,355,381,391],{"_key":300,"_type":145,"text":326},[327],{"_key":328,"_type":8,"children":329,"markDefs":351,"style":16},"6cd070772f9d",[330,334,338,342,347],{"_key":331,"_type":12,"marks":332,"text":333},"4f8e50dfb370",[],"Cy Twombly mentioned pencil boxes in an interview by Walter Hopps, March 13, 1991, handwritten notes by Don Quaintance, p. 5, Susan Davidson Papers, RRF Archives. However, the bottom of a different ",{"_key":335,"_type":12,"marks":336,"text":337},"0784a4f71a18",[65],"Scatola",{"_key":339,"_type":12,"marks":340,"text":341},"310d099e29db",[]," (",{"_key":343,"_type":12,"marks":344,"text":346},"7c0f988686b7",[345],"43340deb0bd6","49",{"_key":348,"_type":12,"marks":349,"text":350},"8e53656fe530",[],") is stamped with the logo of Ancora, an Italian brand of embroidery thread.",[352],{"_key":345,"_type":353,"href":354},"link","https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.044",{"_key":309,"_type":145,"text":356},[357],{"_key":358,"_type":8,"children":359,"markDefs":380,"style":16},"3e930a8675c7",[360,364,368,372,376],{"_key":361,"_type":12,"marks":362,"text":363},"0e0a6a8cf1bf",[],"The illustration of the cube floating in a goblet is from Adolphe Ganot, ",{"_key":365,"_type":12,"marks":366,"text":367},"1a76b3af3f4d",[65],"Traité élémentaire de physique expérimentale et appliquée et de météorologie",{"_key":369,"_type":12,"marks":370,"text":371},"e270e01176c0",[]," (first published in Paris in 1851), p. 63, fig. 50. Rauschenberg used illustrations from this book in several other ",{"_key":373,"_type":12,"marks":374,"text":375},"bcf5da33cdaf",[65],"Scatole",{"_key":377,"_type":12,"marks":378,"text":379},"f6b8802ac384",[]," and in his North African collages (1952–53).",[],{"_key":318,"_type":145,"text":382},[383],{"_key":384,"_type":8,"children":385,"markDefs":390,"style":16},"82e9f3741bdc",[386],{"_key":387,"_type":12,"marks":388,"text":389},"f32053e820e5",[],"The negative is in the RRF Archives (VP118_NEG01).",[],{"_key":292,"_type":265,"crNo":266},{"_key":393,"_type":8,"children":394,"markDefs":474,"style":16},"efa6539813eb",[395,400,403,407,411,415,419,423,427,432,435,439,442,447,450,455,458,462,466,470],{"_key":396,"_type":12,"marks":397,"text":399},"874d3551e5c4",[398],"eb4ed46a83df","Of the extant ",{"_key":401,"_type":12,"marks":402,"text":375},"d6196e8db3ae",[65,398],{"_key":404,"_type":12,"marks":405,"text":406},"9e111fb16d35",[398],", this is the only one made to produce a sound—a feature it shares with Marcel Duchamp’s ",{"_key":408,"_type":12,"marks":409,"text":410},"c9d660662108",[65,398],"With Hidden Noise ",{"_key":412,"_type":12,"marks":413,"text":414},"28f9ec661388",[398],"(1916) and Joseph Cornell’s ",{"_key":416,"_type":12,"marks":417,"text":418},"fe25bb3b2bee",[65,398],"Untitled (Minutiae Objects) ",{"_key":420,"_type":12,"marks":421,"text":422},"abd850aceb9d",[398],"(ca. early 1930s), artworks Rauschenberg probably did not know at the time.",{"_key":424,"_type":12,"marks":425,"text":426},"75deba1911c1",[]," ",{"_key":428,"_type":12,"marks":429,"text":431},"9aeefc39c576",[430],"f0571d011ba9","Roman visitors to the 1953 exhibition could pick up this ",{"_key":433,"_type":12,"marks":434,"text":337},"2d396b658ab8",[65,430],{"_key":436,"_type":12,"marks":437,"text":438},"f5810d70d50f",[430],", see the image of a bird on the lid, shake the box, hear the bell, open the box, find the skull, and look at the picture of the rooster.",{"_key":440,"_type":12,"marks":441,"text":426},"8538cf14a4dd",[],{"_key":443,"_type":12,"marks":444,"text":446},"74dfe0b9057c",[445],"695de3c54aa0","The theme of the box—which is more evident through physical interaction and what Kate Nesin has described as the “mutual agency of viewer and work” than in photographs or museum display cases—is birds.",{"_key":448,"_type":12,"marks":449,"text":426},"1457c8a02166",[],{"_key":451,"_type":12,"marks":452,"text":454},"56f03644fc2b",[453],"3274a4a88387","Two other ",{"_key":456,"_type":12,"marks":457,"text":375},"a4a44cd0c843",[65,453],{"_key":459,"_type":12,"marks":460,"text":461},"a1a7a58e4001",[453],"—which, like this one, the artist gave to Cy Twombly—feature a similar avian theme.",{"_key":463,"_type":12,"marks":464,"text":465},"6f50b48daa70",[]," Moreover, while in Italy, Rauschenberg photographed a carnival stall inspired by ",{"_key":467,"_type":12,"marks":468,"text":469},"d26bc720ab2e",[65],"tiro al piccione",{"_key":471,"_type":12,"marks":472,"text":473},"6cf5f85788f7",[],", or pigeon shooting, filled with bird-shaped targets and caged birds (fig. 3).",[475,541,551,577],{"_key":398,"_type":145,"text":476},[477],{"_key":478,"_type":8,"children":479,"markDefs":540,"style":16},"332f357b659d",[480,484,488,492,496,500,504,508,512,516,520,524,528,532,536],{"_key":481,"_type":12,"marks":482,"text":483},"e5b84e73b5b3",[],"Rauschenberg probably first saw a “replica,” or photographic reproduction (later called a ",{"_key":485,"_type":12,"marks":486,"text":487},"d773a16f5fa7",[65],"feuille libre",{"_key":489,"_type":12,"marks":490,"text":491},"68c64f9da5e7",[]," by Duchamp), of ",{"_key":493,"_type":12,"marks":494,"text":495},"7efd0698d9c6",[65],"With Hidden Noise",{"_key":497,"_type":12,"marks":498,"text":499},"3f146ccc2aee",[]," at the exhibition ",{"_key":501,"_type":12,"marks":502,"text":503},"1f775ddb4d67",[65],"Dada 1916–1923",{"_key":505,"_type":12,"marks":506,"text":507},"46784bc60760",[],", held at Sidney Janis Gallery from April 15 to May 9, 1953, right after his return to New York from Italy. Cornell’s rarely exhibited ",{"_key":509,"_type":12,"marks":510,"text":511},"9c155a3c7b12",[65],"Minutiae Objects ",{"_key":513,"_type":12,"marks":514,"text":515},"02108487bf50",[],"consist of small, circular boxes decorated with entomological prints and containing objects chosen for the sounds they make when the containers are manipulated. There is no evidence that Rauschenberg knew of them, but the title of Merce Cunningham’s 1954 dance ",{"_key":517,"_type":12,"marks":518,"text":519},"d360ec43bd22",[65],"Minutiae",{"_key":521,"_type":12,"marks":522,"text":523},"209fdc6593f6",[],", for which Rauschenberg created one of his first Combines, may be a sign of their circulation in New York’s avant-garde circles. On Cornell’s ",{"_key":525,"_type":12,"marks":526,"text":527},"fed7f29dea7f",[65],"Minutiae Objects",{"_key":529,"_type":12,"marks":530,"text":531},"2a84f26daa0d",[],", see Sarah Lea and Jasper Sharp, eds., ",{"_key":533,"_type":12,"marks":534,"text":535},"49ef47689a5f",[65],"Joseph Cornell: Wanderlust",{"_key":537,"_type":12,"marks":538,"text":539},"364e9c1ca638",[],", exh. cat. (London: Royal Academy of Arts, 2015), pp. 88–89.",[],{"_key":430,"_type":145,"text":542},[543],{"_key":544,"_type":8,"children":545,"markDefs":550,"style":16},"2c8dc7ec3a25",[546],{"_key":547,"_type":12,"marks":548,"text":549},"6c0e1f285e5a",[],"Conservators at the Menil Collection, in collaboration with the Houston Museum of Natural Science and Rice University, Houston, have identified the skull as most likely that of a laughing gull. Kari Dodson, Assistant Objects Conservator, to Julie Thies, TMS Administrator, Menil Collection, Houston, email, June 1, 2016.",[],{"_key":445,"_type":145,"text":552},[553],{"_key":554,"_type":8,"children":555,"markDefs":576,"style":16},"708e288b7607",[556,560,564,568,572],{"_key":557,"_type":12,"marks":558,"text":559},"f2c780eabd52",[],"Kate Nesin, “‘Miniature Monument’: Travel and Work in Italy and North Africa,” in ",{"_key":561,"_type":12,"marks":562,"text":563},"7d4548a8b0cf",[65],"Robert Rauschenberg",{"_key":565,"_type":12,"marks":566,"text":567},"d2b36329e344",[],", by Leah Dickerman and Achim Borchardt-Hume, exh. cat. (New York: Museum of Modern Art; London: Tate Publishing, 2016), p. 65. The possibility of interacting with the works at the 1953 exhibitions is confirmed by an Italian reviewer who mentions “boxes … on opening which an unsuspecting [visitor] may even surprise himself, and a child dream.” A[lessandro] P[arronchi], “Mostre d’arte: Scatole contemplative,” ",{"_key":569,"_type":12,"marks":570,"text":571},"e610f0f6d44c",[65],"La nazione italiana",{"_key":573,"_type":12,"marks":574,"text":575},"f31c0cf3cfec",[],", March 31, 1953 (my translation).",[],{"_key":453,"_type":145,"text":578},[579],{"_key":580,"_type":8,"children":581,"markDefs":655,"style":16},"91f663ba7cf3",[582,586,590,595,599,602,605,610,614,619,622,627,630,635,638,643,646,651],{"_key":583,"_type":12,"marks":584,"text":346},"dafc06768431",[585],"60c73d34b3d2",{"_key":587,"_type":12,"marks":588,"text":589},"9298db3080b9",[]," and ",{"_key":591,"_type":12,"marks":592,"text":594},"59bd90c89b82",[593],"91ec83d83a7f","61",{"_key":596,"_type":12,"marks":597,"text":598},"b7886adc5961",[]," in this catalogue. The former, containing a feather, is inscribed on the bottom “Cy \u002F Rauschenberg 53 \u002F Tanger.” Several of the hanging ",{"_key":600,"_type":12,"marks":601,"text":109},"ab7203029aa9",[65],{"_key":603,"_type":12,"marks":604,"text":341},"58b86e56a05e",[],{"_key":606,"_type":12,"marks":607,"text":609},"637ab3461de3",[608],"05f449e69b65","68",{"_key":611,"_type":12,"marks":612,"text":613},"6c01e436ab66",[],", ",{"_key":615,"_type":12,"marks":616,"text":618},"e29135036061",[617],"163a307a8dee","71",{"_key":620,"_type":12,"marks":621,"text":613},"2537d59fdaff",[],{"_key":623,"_type":12,"marks":624,"text":626},"4629007aac68",[625],"46c5faff28ad","73",{"_key":628,"_type":12,"marks":629,"text":613},"30d99106fe93",[],{"_key":631,"_type":12,"marks":632,"text":634},"8d0540170709",[633],"a37ce042789b","74",{"_key":636,"_type":12,"marks":637,"text":613},"efbc7f53a1a1",[],{"_key":639,"_type":12,"marks":640,"text":642},"a56b1f46889d",[641],"64c10d553293","76",{"_key":644,"_type":12,"marks":645,"text":613},"31d877c90b4a",[],{"_key":647,"_type":12,"marks":648,"text":650},"b5fc6ee5d4f9",[649],"79e2fb949b29","78",{"_key":652,"_type":12,"marks":653,"text":654},"47e4c8de5bea",[],"), all nonextant, seem to have incorporated feathers as well.",[656,657,659,661,663,665,667,669],{"_key":585,"_type":353,"href":354},{"_key":593,"_type":353,"href":658},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F52.022",{"_key":608,"_type":353,"href":660},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.062",{"_key":617,"_type":353,"href":662},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.065",{"_key":625,"_type":353,"href":664},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.067",{"_key":633,"_type":353,"href":666},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.068",{"_key":641,"_type":353,"href":668},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.071",{"_key":649,"_type":353,"href":670},"https:\u002F\u002Frrfcr.netlify.app\u002Fartworks\u002F53.073",[672],{"_key":673,"_type":236,"alt":674,"asset":675,"caption":678,"url":695},"b1b8a7c2e6b5","This is a typed document titled \"L'OBELISCO March 3 - 10, 1953,\" describing an art exhibition by Bob Rauschenberg, detailing the materials used and the conceptual focus on everyday objects and their transformation into art.",{"_type":239,"asset":676},{"_ref":677,"_type":242},"image-d9557c8c30a891e734a7498540f8918fed4f2af5-4542x6605-jpg",[679],{"_key":680,"_type":8,"children":681,"markDefs":694,"style":16},"f12f4fc6bb81",[682,686,690],{"_key":683,"_type":12,"marks":684,"text":685},"7ec398156d4d",[],"Fig. 1. Robert Rauschenberg’s typed statement with handwritten edits for the exhibition ",{"_key":687,"_type":12,"marks":688,"text":689},"94ba278e2148",[65],"Bob Rauschenberg: Scatole e feticci personali",{"_key":691,"_type":12,"marks":692,"text":693},"3ae7cf486df5",[],", Galleria dell’Obelisco, Rome, 1953. Robert Rauschenberg Papers, Robert Rauschenberg Foundation Archives, New York",[],"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002Fd9557c8c30a891e734a7498540f8918fed4f2af5-4542x6605.jpg",{"_key":697,"_type":97,"content":698,"images":1002},"426600f48637",[699,795,822],{"_key":700,"_type":8,"children":701,"markDefs":757,"style":16},"97e0fcf62135",[702,706,710,714,719,722,726,729,733,737,741,745,749,753],{"_key":703,"_type":12,"marks":704,"text":705},"b9130e16ad20",[],"Whatever its private meaning—and notwithstanding its possible relation to Cornell’s ",{"_key":707,"_type":12,"marks":708,"text":709},"974d9af14270",[65],"Aviary",{"_key":711,"_type":12,"marks":712,"text":713},"fac4127ca0cd",[]," series of the 1940s (fig. 4)—the subject of birds is worth attention for the importance it holds in Rauschenberg’s later oeuvre. ",{"_key":715,"_type":12,"marks":716,"text":718},"9b16d1f56933",[717],"b0819cb15546","The skull contained in this ",{"_key":720,"_type":12,"marks":721,"text":337},"9f97e379993e",[65,717],{"_key":723,"_type":12,"marks":724,"text":725},"da8161b9903e",[717],"—the lightweight and easily transportable bodily remains of a bird—seems to anticipate the taxidermied birds that later featured in some of his most famous Combines, such as ",{"_key":727,"_type":12,"marks":728,"text":277},"391baccf795f",[65,717],{"_key":730,"_type":12,"marks":731,"text":732},"528e6403b379",[717],"(ca. 1954\u002F1958), ",{"_key":734,"_type":12,"marks":735,"text":736},"cd847abd030c",[65,717],"Odalisk ",{"_key":738,"_type":12,"marks":739,"text":740},"4fe24ac8c5bc",[717],"(1955\u002F1958), ",{"_key":742,"_type":12,"marks":743,"text":744},"1b4779b61c8d",[65,717],"Satellite",{"_key":746,"_type":12,"marks":747,"text":748},"dcf7c53952f5",[717]," (1955), and ",{"_key":750,"_type":12,"marks":751,"text":752},"96342b8fdf78",[65,717],"Canyon ",{"_key":754,"_type":12,"marks":755,"text":756},"0fe44b384cd3",[717],"(1959).",[758],{"_key":717,"_type":145,"text":759},[760],{"_key":761,"_type":8,"children":762,"markDefs":794,"style":16},"4b469934e6e7",[763,767,771,775,779,782,786,790],{"_key":764,"_type":12,"marks":765,"text":766},"bf4ec161dc53",[65],"Untitled",{"_key":768,"_type":12,"marks":769,"text":770},"83db22adbab9",[],", ca. 1954\u002F1958 (The Museum of Contemporary Art, Los Angeles [84.7]; RRF 55.007); ",{"_key":772,"_type":12,"marks":773,"text":774},"c1fed68681d3",[65],"Odalisk",{"_key":776,"_type":12,"marks":777,"text":778},"b0a15c82afdb",[],", 1955\u002F1958 (Museum Ludwig, Cologne [ML 01206]; RRF 58.001); ",{"_key":780,"_type":12,"marks":781,"text":744},"0c1f3f341ae6",[65],{"_key":783,"_type":12,"marks":784,"text":785},"a11106e42d8c",[],", 1955 (Whitney Museum of American Art, New York [91.85]; RRF 55.002); ",{"_key":787,"_type":12,"marks":788,"text":789},"866501bbeb34",[65],"Canyon",{"_key":791,"_type":12,"marks":792,"text":793},"474c292e8845",[],", 1959 (The Museum of Modern Art, New York [1782.2012]; RRF 59.008).",[],{"_key":796,"_type":8,"children":797,"markDefs":811,"style":16},"63b10b4238bb",[798,802,807],{"_key":799,"_type":12,"marks":800,"text":801},"a0a06fe0f6de",[],"Rauschenberg decorated the skull extensively. He attached to it several strands of colorful embroidery thread and one piece of twine, the latter holding the bell, and wrapped white thread around the jaw to keep it from moving. He also adhered various feathers to the skull, around the back and sides, and attached a rhinestone at the joint between the beak and the cranium. ",{"_key":803,"_type":12,"marks":804,"text":806},"33f091a6304c",[805],"753974ddca8a","The skull, probably collected in Tangier, thus became, for Rauschenberg, an instrument of ritual: “You may develop your own ritual about the objects. The order and logic of the arrangements are the direct creation of the viewer assisted by the costumed provocativeness and literal sensuality of the objects.”",{"_key":808,"_type":12,"marks":809,"text":810},"4f35d2816e4a",[]," Rauschenberg transformed the remains of the bird into a would-be ethnographic artifact, one enriched with what he called a “rich false history.”",[812],{"_key":805,"_type":145,"text":813},[814],{"_key":815,"_type":8,"children":816,"markDefs":821,"style":16},"c72bbfc3373c",[817],{"_key":818,"_type":12,"marks":819,"text":820},"ed6302e9af61",[],"Rauschenberg, statement for Galleria dell’Obelisco exhibition. For the skull’s origination in Tangier, see Twombly, interview by Hopps, March 13, 1991, p. 5.",[],{"_key":823,"_type":8,"children":824,"markDefs":911,"style":16},"84841a55e099",[825,829,834,837,842,845,850,854,858,861,865,869,874,878,882,886,891,894,897,901,904,907],{"_key":826,"_type":12,"marks":827,"text":828},"45fa91ac4386",[],"As is even more evident in the hanging assemblages in the series, the artist was probably trying to emulate objects he had seen in North Africa or Rome. ",{"_key":830,"_type":12,"marks":831,"text":833},"56fafeb7a905",[832],"e86254beb6fe","The art historian Nicholas Cullinan, who sees Rauschenberg in the role of “amateur ethnographer” in his approach to such objects, stresses the importance of Twombly’s visits to Rome’s Museo Nazionale Preistorico Etnografico Luigi Pigorini in the making of his North African sketchbooks (1953).",{"_key":835,"_type":12,"marks":836,"text":426},"673dacfbdba3",[],{"_key":838,"_type":12,"marks":839,"text":841},"438dc1225923",[840],"7c730f97a08d","Twombly later told Calvin Tomkins, “Bob went to all the museums,” which certainly included the Museo Africano, presumably included the Museo Pigorini, and may have included the Pontificio Museo Missionario-Etnologico, at the time still housed in its original location at the Lateran Palace and featuring dusty displays dating back to the 1920s.",{"_key":843,"_type":12,"marks":844,"text":426},"c2c1f2b53a36",[],{"_key":846,"_type":12,"marks":847,"text":849},"d3a709e40dc3",[848],"018fd87ed33e","One of its rooms housed materials related to the peoples of North America, which Rauschenberg could hardly have expected to encounter in Italy.",{"_key":851,"_type":12,"marks":852,"text":853},"8a663e60464c",[]," The objects exhibited in the vitrines, surrounded by statues and paintings imaginatively depicting Indigenous peoples, could well have inspired the ",{"_key":855,"_type":12,"marks":856,"text":857},"1b6a6116c8b5",[65],"Scatole e",{"_key":859,"_type":12,"marks":860,"text":426},"2078ea5003c1",[],{"_key":862,"_type":12,"marks":863,"text":864},"027a2a2a2893",[65],"Feticci",{"_key":866,"_type":12,"marks":867,"text":868},"1467d3fd61a1",[]," themselves; indeed, the word “fetish” belongs to the ethnographic lexicon of the period. Arriving in Rome expecting to experience classical art, Rauschenberg may have found himself confronted with what he perceived as an element of his own nation’s saga. Coupled with his recent firsthand experiences of North Africa’s art, crafts, and cultures, visits to ethnographic museums may have stimulated his decision to present himself in his first solo exhibition in Europe through ritual objects of his own invention. ",{"_key":870,"_type":12,"marks":871,"text":873},"be6b6879f051",[872],"b0783a704c2e","In line with recent critical interpretations of 1950s Rome as a “contact zone” between Americans and Italians, the ",{"_key":875,"_type":12,"marks":876,"text":877},"e4a76e34e4a3",[65,872],"Scatole e Feticci ",{"_key":879,"_type":12,"marks":880,"text":881},"adb5c20ec554",[872],"may be an indirect example of what the literary scholar Mary Louise Pratt has defined as “auto-ethnography”—that is, a practice in which “people undertake to describe themselves in ways that engage with representations others have made of them.”",{"_key":883,"_type":12,"marks":884,"text":885},"f2d0097c7e3f",[]," Calvin Tomkins’s account of the artist’s return to the United States seems to confirm this reading. ",{"_key":887,"_type":12,"marks":888,"text":890},"834a6cf41ff9",[889],"4fd1bb1182f2","Questioned by a customs officer about the ",{"_key":892,"_type":12,"marks":893,"text":375},"c9dc2252d074",[65,889],{"_key":895,"_type":12,"marks":896,"text":426},"3039b2fc6312",[889],{"_key":898,"_type":12,"marks":899,"text":900},"e71480f64cdb",[65,889],"e",{"_key":902,"_type":12,"marks":903,"text":426},"c76198e3ca11",[889],{"_key":905,"_type":12,"marks":906,"text":864},"eff31db6a6b4",[65,889],{"_key":908,"_type":12,"marks":909,"text":910},"d71c07e15506",[889]," he was transporting, Rauschenberg replied, “without thinking, [that] they were ceremonial objects made by American Indians.”",[912,938,948,958,984],{"_key":832,"_type":145,"text":913},[914],{"_key":915,"_type":8,"children":916,"markDefs":937,"style":16},"08eb63830921",[917,921,925,929,933],{"_key":918,"_type":12,"marks":919,"text":920},"88147eed3913",[],"Nicholas Cullinan, “Double Exposure: Robert Rauschenberg’s and Cy Twombly’s Roman Holiday,” ",{"_key":922,"_type":12,"marks":923,"text":924},"2297ac6e3544",[65],"Burlington Magazine",{"_key":926,"_type":12,"marks":927,"text":928},"2a4c07138049",[]," 150, no. 1264 (July 2008), p. 466. For “amateur ethnographer,” see Nicholas Cullinan, “To Exist in Passing Time,” in ",{"_key":930,"_type":12,"marks":931,"text":932},"7620747fc6cb",[65],"Robert Rauschenberg: Photographs 1949–1962",{"_key":934,"_type":12,"marks":935,"text":936},"5ced57a234fb",[],", ed. Susan Davidson and David White (London: Thames & Hudson, 2011), p. 29.",[],{"_key":840,"_type":145,"text":939},[940],{"_key":941,"_type":8,"children":942,"markDefs":947,"style":16},"ebf796885cc3",[943],{"_key":944,"_type":12,"marks":945,"text":946},"5befefdb920e",[],"Since 2016, the collections of both the Museo Pigorini and the Museo Africano have been part of the MUCIV–Museo delle Civiltà, Rome. Those of the Pontificio Museo Missionario-Etnologico are now in the Museo Etnologico Anima Mundi, Musei Vaticani. Photographs taken by Rauschenberg, perhaps instructed by Twombly, depict funerary stelae from the Gurage region in Ethiopia, which, in 1952–53, were in the collection of the Museo Africano. The negatives are in the RRF Archives (VP016_NEG06, VP092_NEG08, VP092_NEG09). For Twombly’s comment to Tomkins, see Calvin Tomkins, “Cy,” n.d., Calvin Tomkins Papers, series IV.C, folder 9, MoMA Archives.",[],{"_key":848,"_type":145,"text":949},[950],{"_key":951,"_type":8,"children":952,"markDefs":957,"style":16},"84e2378b331f",[953],{"_key":954,"_type":12,"marks":955,"text":956},"60518f9401fc",[],"The appearance of the room is documented in a photograph in the collection of MUCIV–Museo delle Civiltà, Rome, taken in the Lateran around 1943 and identified during research for this publication. Francesca Martusciello, Fototeca, Musei Vaticani, to Myriam Pierri, Collezioni Archivistiche Fotografiche, Storico-Documentali, di Disegni e Rilievi, MUCIV–Museo delle Civiltà, Rome, email, Sept. 3, 2025; Myriam Pierri to Erin O’Flynn, Image Coordinator, Robert Rauschenberg Foundation, New York, email, Sept. 8, 2025.",[],{"_key":872,"_type":145,"text":959},[960],{"_key":961,"_type":8,"children":962,"markDefs":983,"style":16},"05de75483766",[963,967,971,975,979],{"_key":964,"_type":12,"marks":965,"text":966},"1f51824aa475",[],"Mary Louise Pratt, “Arts of the Contact Zone,” ",{"_key":968,"_type":12,"marks":969,"text":970},"0d085fe8b2be",[65],"Profession",{"_key":972,"_type":12,"marks":973,"text":974},"1429d2668967",[],", 1991, p. 35. For “contact zone,” see Peter Benson Miller, “Resident\u002FAlien: American Artists in Postwar Rome,” in ",{"_key":976,"_type":12,"marks":977,"text":978},"c5b412e17494",[65],"Roma e gli artisti stranieri: Integrazione, rete e identità (XVI–XX s.)",{"_key":980,"_type":12,"marks":981,"text":982},"186404fed016",[],", ed. Ariela Varela Braga and Thomas-Leo True (Rome: Artemide, 2018), pp. 221–38.",[],{"_key":889,"_type":145,"text":985},[986],{"_key":987,"_type":8,"children":988,"markDefs":1001,"style":16},"34c206e14c19",[989,993,997],{"_key":990,"_type":12,"marks":991,"text":992},"231de2936592",[],"Rauschenberg, quoted in Calvin Tomkins, ",{"_key":994,"_type":12,"marks":995,"text":996},"fbb725f16346",[65],"Off the Wall: A Portrait of Robert Rauschenberg",{"_key":998,"_type":12,"marks":999,"text":1000},"a5af8b557a97",[]," (New York: Picador, 2005), p. 74.",[],[1003,1043],{"_key":1004,"_type":236,"alt":1005,"asset":1006,"caption":1009,"stickyOnScroll":1040,"url":1041,"width":1042},"57883925de40","An open, box displaying a mix of handwritten notes, illustrations, and a black-and-white photograph, all set against a gray background.",{"_type":239,"asset":1007},{"_ref":1008,"_type":242},"image-f2213b3f163e5d320e3e9a994e6bb4880e7f7afd-2698x5835-jpg",[1010],{"_key":1011,"_type":8,"children":1012,"markDefs":1038,"style":16},"4286f8c44f20",[1013,1017,1020,1023,1026,1030,1034],{"_key":1014,"_type":12,"marks":1015,"text":1016},"1cc507b43395",[],"Fig. 2a. Robert Rauschenberg, ",{"_key":1018,"_type":12,"marks":1019,"text":277},"89cd6bcb9964",[65],{"_key":1021,"_type":12,"marks":1022,"text":281},"acbe2716ed18",[],{"_key":1024,"_type":12,"marks":1025,"text":109},"9b72821d4406",[65],{"_key":1027,"_type":12,"marks":1028,"text":1029},"5cd9bbd0bd6f",[],"), ca. 1953 (detail of ",{"_key":1031,"_type":12,"marks":1032,"text":251},"655825e8d2f7",[1033],"737ebe79b230",{"_key":1035,"_type":12,"marks":1036,"text":1037},"573e7834e575",[],", top of lid)",[1039],{"_key":1033,"_type":265,"crNo":266},true,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002Ff2213b3f163e5d320e3e9a994e6bb4880e7f7afd-2698x5835.jpg",100,{"_key":1044,"_type":236,"alt":1045,"asset":1046,"caption":1049,"url":1080},"e730e1a5d26c","A wooden box containing a colorful abstract artwork with red and yellow shapes, accompanied by a piece of fabric and a label in Arabic.",{"_type":239,"asset":1047},{"_ref":1048,"_type":242},"image-807881b6e203b7afd1e7daca382647074eaa45ac-4105x8959-jpg",[1050],{"_key":1051,"_type":8,"children":1052,"markDefs":1078,"style":16},"edead993488f",[1053,1057,1060,1063,1066,1070,1074],{"_key":1054,"_type":12,"marks":1055,"text":1056},"fa485d2ce77b",[],"Fig. 2b. Robert Rauschenberg, ",{"_key":1058,"_type":12,"marks":1059,"text":277},"c74d7b30eaff",[65],{"_key":1061,"_type":12,"marks":1062,"text":281},"fbff80f5b71d",[],{"_key":1064,"_type":12,"marks":1065,"text":109},"f097ce182b68",[65],{"_key":1067,"_type":12,"marks":1068,"text":1069},"800207880146",[],"), ca. 1953 (details of ",{"_key":1071,"_type":12,"marks":1072,"text":251},"df74396348e9",[1073],"5e75c88b4cd1",{"_key":1075,"_type":12,"marks":1076,"text":1077},"a895ab56a1ea",[],", underside of lid)",[1079],{"_key":1073,"_type":265,"crNo":266},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002F807881b6e203b7afd1e7daca382647074eaa45ac-4105x8959.jpg",{"_key":1082,"_type":97,"content":1083,"images":1275},"b2e7dd257429",[1084,1168],{"_key":1085,"_type":8,"children":1086,"markDefs":1123,"style":16},"80b0a1955c70",[1087,1091,1094,1098,1103,1107,1112,1116,1119],{"_key":1088,"_type":12,"marks":1089,"text":1090},"3271f0ca0495",[],"In addition to ethnographic museums, flea markets were a second generative space for the conception of the ",{"_key":1092,"_type":12,"marks":1093,"text":109},"e90f5c5680cf",[65],{"_key":1095,"_type":12,"marks":1096,"text":1097},"a721c2881ce9",[],". Twombly was an avid collector of antiquities and archaeological remains, while Rauschenberg took numerous photographs of outmoded curiosities up for sale in the stalls (fig. 5). ",{"_key":1099,"_type":12,"marks":1100,"text":1102},"69baff52a50b",[1101],"048ca9a1b45e","In Rome, he trained his secondhand Rolleicord, a medium-format camera, on wrecked objects, frayed textiles, and worn posters, offering an image of Italy far removed from contemporaneous Hollywood narratives.",{"_key":1104,"_type":12,"marks":1105,"text":1106},"a80adea17437",[]," In North Africa, Rauschenberg likely visited the local flea markets vividly described by the American expatriate writer Paul Bowles, whom Rauschenberg and Twombly met in Morocco: “Here everything had to be bought … ",{"_key":1108,"_type":12,"marks":1109,"text":1111},"c10e1d3736b7",[1110],"de33e0815e5b","nothing was discarded, which means that nothing was left around. An old tin can, a broken cup, an empty pill bottle, these things were put on sale. [The protagonist] remembered walking through the Joteya in Tangier and seeing the thousands of things on display, hopelessly useless articles, but for which the people must have managed to find a use.”",{"_key":1113,"_type":12,"marks":1114,"text":1115},"9d44f4d8bb3c",[]," These last words capture something of the spirit with which Rauschenberg assembled his ",{"_key":1117,"_type":12,"marks":1118,"text":138},"c002f6792e5d",[65],{"_key":1120,"_type":12,"marks":1121,"text":1122},"6508c40bb67b",[],", finding a use for hopelessly useless materials, perhaps collected at the same markets described by Bowles.",[1124,1150],{"_key":1101,"_type":145,"text":1125},[1126],{"_key":1127,"_type":8,"children":1128,"markDefs":1149,"style":16},"3b9d3d928dec",[1129,1133,1137,1141,1145],{"_key":1130,"_type":12,"marks":1131,"text":1132},"0df159e36632",[],"As mentioned in a postcard Rauschenberg mailed to his parents from Rome, the director William Wyler was in the city to film ",{"_key":1134,"_type":12,"marks":1135,"text":1136},"5caf530e6c10",[65],"Roman Holiday ",{"_key":1138,"_type":12,"marks":1139,"text":1140},"69f29fce59fd",[],"(1953). Rauschenberg to Dora and Ernest Rauschenberg, postcard, ca. Sept. 1952, RFC. More than any other Hollywood blockbuster, the movie shaped the American perception of postwar Italy and transformed Rome into a romantic and glamorous destination. At the same time, the underground, experimental gay filmmaker Kenneth Anger was filming ",{"_key":1142,"_type":12,"marks":1143,"text":1144},"627dd7db1ecf",[65],"Eaux d’artifice ",{"_key":1146,"_type":12,"marks":1147,"text":1148},"4a470c021b6d",[],"(1953) at Villa d’Este, in Tivoli.",[],{"_key":1110,"_type":145,"text":1151},[1152],{"_key":1153,"_type":8,"children":1154,"markDefs":1167,"style":16},"ba3b9474df41",[1155,1159,1163],{"_key":1156,"_type":12,"marks":1157,"text":1158},"48972ce0fa3f",[],"Paul Bowles, ",{"_key":1160,"_type":12,"marks":1161,"text":1162},"4f8820b55995",[65],"Let It Come Down",{"_key":1164,"_type":12,"marks":1165,"text":1166},"9b6a0c8bfb94",[]," (London: John Lehmann, 1952), p. 271.",[],{"_key":1169,"_type":8,"children":1170,"markDefs":1224,"style":16},"420c52481c3d",[1171,1175,1180,1183,1186,1190,1194,1198,1201,1205,1209,1212,1217,1220],{"_key":1172,"_type":12,"marks":1173,"text":1174},"1a7a12cd3f22",[],"In the early 1950s, drawing inspiration and materials from ethnographic museums and flea markets meant, deliberately or not, reconnecting to Surrealism. ",{"_key":1176,"_type":12,"marks":1177,"text":1179},"e46f17d359f0",[1178],"00af6e1d231d","Indeed, the materials Rauschenberg used to create his ",{"_key":1181,"_type":12,"marks":1182,"text":375},"e76986936528",[65,1178],{"_key":1184,"_type":12,"marks":1185,"text":426},"a859f3f3901e",[1178],{"_key":1187,"_type":12,"marks":1188,"text":1189},"4d4d38ef32a0",[65,1178],"e Feticci ",{"_key":1191,"_type":12,"marks":1192,"text":1193},"4dcf99783a5c",[1178],"correspond almost perfectly to the beach detritus described by André Breton in his 1937 novel ",{"_key":1195,"_type":12,"marks":1196,"text":1197},"d6669ca56ff4",[65,1178],"L’amour fou",{"_key":1199,"_type":12,"marks":1200,"text":341},"c6d88409a330",[1178],{"_key":1202,"_type":12,"marks":1203,"text":1204},"30607dbd9e1f",[65,1178],"Mad Love",{"_key":1206,"_type":12,"marks":1207,"text":1208},"2c1420f0ed82",[1178],") as suitable for assembling Surrealist talismans: “a few small electric light bulbs, some blue bits of driftwood, a champagne cork, remnants of a pink candle, a cuttlefish bone no less pink, a little round metallic candy box inscribed with the word ‘violet,’ a tiny crab skeleton marvelously intact and chalk-white.”",{"_key":1210,"_type":12,"marks":1211,"text":426},"919a0cc46726",[],{"_key":1213,"_type":12,"marks":1214,"text":1216},"ab0e7bd92a8b",[1215],"8c94d17df194","As noted by the literary critic Francesco Orlando, Breton’s imagination in this passage succeeded in “striking a glimmer of preciousness or magic in every piece of debris that at least had the merit of being unexpected”—arguably the same result Rauschenberg aimed to achieve with his ",{"_key":1218,"_type":12,"marks":1219,"text":138},"0124ce0aa5d0",[65,1215],{"_key":1221,"_type":12,"marks":1222,"text":1223},"b1b1e7acaa12",[1215],".",[1225,1249],{"_key":1178,"_type":145,"text":1226},[1227],{"_key":1228,"_type":8,"children":1229,"markDefs":1248,"style":16},"dee6216e0770",[1230,1234,1237,1241,1244],{"_key":1231,"_type":12,"marks":1232,"text":1233},"1d2d9c22ee48",[],"André Breton, ",{"_key":1235,"_type":12,"marks":1236,"text":1204},"db752ee5d683",[65],{"_key":1238,"_type":12,"marks":1239,"text":1240},"e1ec3b457d2e",[],", trans. Mary Anne Caws (Lincoln: University of Nebraska Press, 1988), p. 101, originally published as ",{"_key":1242,"_type":12,"marks":1243,"text":1197},"6bbac18ab6af",[65],{"_key":1245,"_type":12,"marks":1246,"text":1247},"90009fca4e32",[]," (Paris: Gallimard, 1937).",[],{"_key":1215,"_type":145,"text":1250},[1251],{"_key":1252,"_type":8,"children":1253,"markDefs":1274,"style":16},"e7083c02bed2",[1254,1258,1262,1266,1270],{"_key":1255,"_type":12,"marks":1256,"text":1257},"396e8a63e436",[],"Francesco Orlando, ",{"_key":1259,"_type":12,"marks":1260,"text":1261},"85eb3f0f20c0",[65],"Obsolete Objects in the Literary Imagination: Ruins, Relics, Rarities, Rubbish, Uninhabited Places, and Hidden Treasures",{"_key":1263,"_type":12,"marks":1264,"text":1265},"02fe5606c86b",[],", trans. Alessandra Grego et al. (New Haven, Conn.: Yale University Press, 2006), originally published as ",{"_key":1267,"_type":12,"marks":1268,"text":1269},"fa36688466cd",[65],"Gli oggetti desueti nelle immagini della letteratura: Rovine, reliquie, rarità, robaccia, luoghi inabitati e tesori nascosti",{"_key":1271,"_type":12,"marks":1272,"text":1273},"cf06b8a2b91b",[]," (Turin: Einaudi, 1994), p. 40.",[],[1276],{"_key":1277,"_type":236,"alt":1278,"asset":1279,"caption":1282,"url":1291},"9d1d1cf52610","A black and white photograph of a small animal enclosure featuring a birdcage, decorative elements on the wall, and various items displayed on shelves.",{"_type":239,"asset":1280},{"_ref":1281,"_type":242},"image-5dfc8faa5c90a7c6dca8cb07d5c2088ad2bbd1aa-2618x2618-jpg",[1283],{"_key":1284,"_type":8,"children":1285,"markDefs":1290,"style":16},"05a55a66c326",[1286],{"_key":1287,"_type":12,"marks":1288,"text":1289},"c423963991eb",[],"Fig. 3. Carnival stall, Italy, 1952 or 1953. Photograph by Robert Rauschenberg",[],"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002F5dfc8faa5c90a7c6dca8cb07d5c2088ad2bbd1aa-2618x2618.jpg",{"_key":1293,"_type":97,"content":1294,"images":1492},"27a364ac4a3b",[1295,1392],{"_key":1296,"_type":8,"children":1297,"markDefs":1339,"style":16},"ca431f6c8a04",[1298,1302,1305,1309,1314,1317,1322,1325,1328,1331,1335],{"_key":1299,"_type":12,"marks":1300,"text":1301},"2f5c56890ff1",[],"The Italian audience, though less exposed to Surrealism than those in other European countries and the United States, received the ",{"_key":1303,"_type":12,"marks":1304,"text":109},"09861df5d6f8",[65],{"_key":1306,"_type":12,"marks":1307,"text":1308},"518eb4a09e77",[]," as Surrealist. ",{"_key":1310,"_type":12,"marks":1311,"text":1313},"52c94d5489d9",[1312],"00fa59bf2053","One reviewer of the Florence exhibition considered the works “fairly faithful to the Surrealist manner”; another remarked on “Surrealist jokes”; and a third branded Rauschenberg and Twombly “American Surrealists” and described their Florentine debut as the “first [Surrealist exhibition] to go on show in Italy.”",{"_key":1315,"_type":12,"marks":1316,"text":426},"aecaaa95a408",[],{"_key":1318,"_type":12,"marks":1319,"text":1321},"b6a2c68699cf",[1320],"af9f839085af","Although the ",{"_key":1323,"_type":12,"marks":1324,"text":857},"c8de6a4dd873",[65,1320],{"_key":1326,"_type":12,"marks":1327,"text":426},"c8b8f7b0257a",[1320],{"_key":1329,"_type":12,"marks":1330,"text":864},"42823b038782",[65,1320],{"_key":1332,"_type":12,"marks":1333,"text":1334},"d63b9fe52dc4",[1320]," have often been related to works by Cornell and other Surrealists that Rauschenberg may have encountered in New York,",{"_key":1336,"_type":12,"marks":1337,"text":1338},"02684894037f",[]," the deeper reasons that led him to resort to a Surrealist language in Rome remain uninvestigated.",[1340,1374],{"_key":1312,"_type":145,"text":1341},[1342],{"_key":1343,"_type":8,"children":1344,"markDefs":1373,"style":16},"d4b5124f42dc",[1345,1349,1353,1357,1361,1365,1369],{"_key":1346,"_type":12,"marks":1347,"text":1348},"ba96dee4fc81",[],"Vice, “Twombly and Rauschenberg,” 1953, in ",{"_key":1350,"_type":12,"marks":1351,"text":1352},"290649588d39",[65],"Writings on Cy Twombly",{"_key":1354,"_type":12,"marks":1355,"text":1356},"d56e7bee0808",[],", ed. Nicola Del Roscio, trans. Michael Sullivan (Munich: Schirmer\u002FMosel, 2002), p. 32, originally published as “Twombly e Rauschenberg” in ",{"_key":1358,"_type":12,"marks":1359,"text":1360},"719cffea73b0",[65],"Il mattino dell’Italia centrale",{"_key":1362,"_type":12,"marks":1363,"text":1364},"1d382ad0d9ff",[],", March 24, 1953; P[arronchi], “Mostre d’arte,” March 31, 1953; V. d’a., “Paintings, Monotypes and Other Things,” 1953, in Del Roscio, ",{"_key":1366,"_type":12,"marks":1367,"text":1368},"61ff9d060b1b",[65],"Writings on Twombly",{"_key":1370,"_type":12,"marks":1371,"text":1372},"305bb4fec239",[],", p. 33, originally published as “Pitture, monotipi e altre cose” in an unidentified Italian newspaper. This last reviewer was incorrect. As an example, Galleria dell’Obelisco itself had already hosted solo exhibitions of Salvador Dalí (Nov. 1948), Roberto Matta (Jan. 1950), René Magritte (Jan. 1953), and Yves Tanguy (Feb. 1953).",[],{"_key":1320,"_type":145,"text":1375},[1376],{"_key":1377,"_type":8,"children":1378,"markDefs":1391,"style":16},"927dc38ee24b",[1379,1383,1387],{"_key":1380,"_type":12,"marks":1381,"text":1382},"b3a3d81114ff",[],"In preparation for his major 1997–99 retrospective, Rauschenberg addressed this point directly in a note to Susan Davidson: “One thing that keeps popping up is the comparison with my work and Cornell’s. A big difference in our attitudes is that I dragged ordinary materials into the art world for a direct confrontation, and I felt Cornell incorporated highly select materials to celebrate their rarefication, often protecting their existence with as many as four to six sheets of glass. I love his work, but I think we lived in different worlds.” Walter Hopps, “Introduction: Rauschenberg’s Art of Fusion,” in ",{"_key":1384,"_type":12,"marks":1385,"text":1386},"3083afac08cc",[65],"Robert Rauschenberg: A Retrospective",{"_key":1388,"_type":12,"marks":1389,"text":1390},"b2181b0d5f8f",[],", by Walter Hopps and Susan Davidson, exh. cat. (New York: Solomon R. Guggenheim Foundation, 1997) p. 29n12.",[],{"_key":1393,"_type":8,"children":1394,"markDefs":1429,"style":16},"d7bfd689c442",[1395,1399,1404,1408,1413,1416,1421,1425],{"_key":1396,"_type":12,"marks":1397,"text":1398},"522a9860c124",[],"The context of the works’ first exhibition may help shed some light on them. Postwar Rome was a haven for offbeat foreigners whose lingua franca was Surrealism. ",{"_key":1400,"_type":12,"marks":1401,"text":1403},"b0195603087c",[1402],"32a9c191b5d4","Galleria dell’Obelisco was instrumental in the spread of Surrealism in Italy—a fact that, along with its “plush walls,” captured Twombly’s attention",{"_key":1405,"_type":12,"marks":1406,"text":1407},"740f6de27a9b",[],". In addition to exhibiting works by historical Surrealists, including René Magritte and Yves Tanguy, L’Obelisco was a hotspot of the late-Surrealist and Neo-Romantic queer expatriate milieu in Rome. ",{"_key":1409,"_type":12,"marks":1410,"text":1412},"d49ad0c143ca",[1411],"d5493f244760","Figures connected to the gallery included the painters Eugene Berman, Carlyle Brown, and Pavel Tchelitchew; the Italian-born U.S. Army veteran and painter Corrado Cagli; the photographer Herbert List; and the poet Charles Henri Ford, Tchelitchew’s partner.",{"_key":1414,"_type":12,"marks":1415,"text":426},"119c0429add1",[],{"_key":1417,"_type":12,"marks":1418,"text":1420},"ec52d4a11148",[1419],"53422241acbe","As L’Obelisco’s co-owner Irene Brin later recalled, Rauschenberg created a friendly atmosphere around his exhibition: “Bob left [Italy] with his twenty thousand lire. No, he had less, he offered an incredible number of ",{"_key":1422,"_type":12,"marks":1423,"text":1424},"1d6ad956d1e1",[65,1419],"aperitivi",{"_key":1426,"_type":12,"marks":1427,"text":1428},"dda61e2d4f08",[1419],", at the bar on Via Sistina, so wonderful did the occasion appear to him.”",[1430,1448,1474],{"_key":1402,"_type":145,"text":1431},[1432],{"_key":1433,"_type":8,"children":1434,"markDefs":1447,"style":16},"d972243ebb72",[1435,1439,1443],{"_key":1436,"_type":12,"marks":1437,"text":1438},"be2b3b6afbad",[],"Walter Hopps, ",{"_key":1440,"_type":12,"marks":1441,"text":1442},"258605f2067f",[65],"Robert Rauschenberg: The Early 1950s",{"_key":1444,"_type":12,"marks":1445,"text":1446},"030e9b2afc4b",[],", exh. cat. (Houston: Menil Collection; Houston Fine Art Press, 1991), p. 115.",[],{"_key":1411,"_type":145,"text":1449},[1450],{"_key":1451,"_type":8,"children":1452,"markDefs":1473,"style":16},"4c2f77c11154",[1453,1457,1461,1465,1469],{"_key":1454,"_type":12,"marks":1455,"text":1456},"e2a0490a6485",[],"On the connections between “the young Italian Fantasts [",{"_key":1458,"_type":12,"marks":1459,"text":1460},"e080ef89ea7b",[65],"sic",{"_key":1462,"_type":12,"marks":1463,"text":1464},"7a71459ee9ae",[],"] and the American Surrealists,” see Ilaria Schiaffini, “It’s a Roman Holiday for Artists: The American Artists of L’Obelisco After World War II,” ",{"_key":1466,"_type":12,"marks":1467,"text":1468},"f2aa482006d7",[65],"Italian Modern Art",{"_key":1470,"_type":12,"marks":1471,"text":1472},"00a48e569177",[],", no. 3 (Jan. 2020), https:\u002F\u002Fwww.italianmodernart.org\u002Fjournal\u002Farticles\u002Fits-a-roman-holiday-for-artists-the-american-artists-of-lobelisco-after-world-war-ii\u002F, accessed Sept. 22, 2022 (no longer accessible).",[],{"_key":1419,"_type":145,"text":1475},[1476],{"_key":1477,"_type":8,"children":1478,"markDefs":1491,"style":16},"ccd46db28c80",[1479,1483,1487],{"_key":1480,"_type":12,"marks":1481,"text":1482},"bb11e3112c68",[],"Irene Brin, “La prima mostra italiana del re della Pop Art, vincitore della Biennale, fu organizzata solo per divertimento,” ",{"_key":1484,"_type":12,"marks":1485,"text":1486},"84eb8257b6b3",[65],"Bellezza: Mensile dell’alta moda e di vita italiana",{"_key":1488,"_type":12,"marks":1489,"text":1490},"df609c5c69d0",[]," 24, no. 10 (Oct. 1964), p. 100 (my translation). Twenty thousand lire in 1953 is equivalent to about four hundred U.S. dollars today.",[],[1493],{"_key":1494,"_type":236,"alt":1495,"asset":1496,"caption":1499,"url":1516},"62def25c2d2b","A wooden box depicts a miniature scene of three yellow birds perched on a branch within a small, earthy landscape.",{"_type":239,"asset":1497},{"_ref":1498,"_type":242},"image-24d34a6957151214598e02626c611ca89a423ecb-2064x2662-jpg",[1500],{"_key":1501,"_type":8,"children":1502,"markDefs":1515,"style":16},"82b3fdd77594",[1503,1507,1511],{"_key":1504,"_type":12,"marks":1505,"text":1506},"a07477fbbb5d",[],"Fig. 4. Joseph Cornell, ",{"_key":1508,"_type":12,"marks":1509,"text":1510},"580f414b20b9",[65],"Untitled (Aviary with Yellow Birds)",{"_key":1512,"_type":12,"marks":1513,"text":1514},"c2e39f9dcafa",[],", ca. 1948. Wood, cork, paint, and cardboard in glass-faced wood box; 21⅛ × 15 × 6⅜ in. (53.7 × 38.2 × 16.3 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.",[],"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002F24d34a6957151214598e02626c611ca89a423ecb-2064x2662.jpg",{"_key":1518,"_type":97,"content":1519,"images":1586},"e545f6f9b66d",[1520,1551],{"_key":1521,"_type":8,"children":1522,"markDefs":1532,"style":16},"1274adbdc0f2",[1523,1527],{"_key":1524,"_type":12,"marks":1525,"text":1526},"1c555f778591",[],"It is not hard to imagine that during such convivial get-togethers Twombly and Rauschenberg may have been integrated into the city’s queer expatriate, Surrealist-influenced community. Such an affinity seems confirmed by their visit to Bowles, a close friend of Ford’s and List’s. Rauschenberg’s peculiar take on Surrealism, which differed from that of most of his Roman counterparts in being nonpictorial and nonfigurative, could nevertheless have been instrumental in penetrating the milieu he was navigating in the city. Back in New York, he would quickly abandon such unfashionable undertones. ",{"_key":1528,"_type":12,"marks":1529,"text":1531},"7c5044127625",[1530],"740dfa1f4666","As noted by the art historian Roni Feinstein, “These less than avant-garde concerns, however, were to be the very cornerstones of his later art.”",[1533],{"_key":1530,"_type":145,"text":1534},[1535],{"_key":1536,"_type":8,"children":1537,"markDefs":1550,"style":16},"27179866e435",[1538,1542,1546],{"_key":1539,"_type":12,"marks":1540,"text":1541},"e8d60078056b",[],"Roni Feinstein, ",{"_key":1543,"_type":12,"marks":1544,"text":1545},"8370c0fefdf2",[65],"Random Order: The First Fifteen Years of Robert Rauschenberg’s Art, 1949–1964",{"_key":1547,"_type":12,"marks":1548,"text":1549},"55f4c0ec6131",[]," (PhD diss., New York University, 1990), ProQuest (303859753), p. 128.",[],{"_key":1552,"_type":8,"children":1553,"markDefs":1575,"style":16},"494dddad1999",[1554,1558,1563,1567,1571],{"_key":1555,"_type":12,"marks":1556,"text":1557},"e226bee0d7a5",[],"Emitting birdlike sounds, this small box gathers and conceals several fundamental strands of fascination for the young Rauschenberg. In a few cubic inches, it accommodates his interest in ethnography, his reconnection to his roots and his childhood, his engagement with Surrealism, perhaps a subtle nod to a queer milieu and his relationship with Twombly, the visits he made to flea markets and museums, the beginning of a lasting investment in avian themes, and his American gaze on Europe and North Africa. It contributed to the shaping of the image he wanted to present of himself to the European public, and it responded to the image he expected the public to otherwise have of him as an American artist. ",{"_key":1559,"_type":12,"marks":1560,"text":1562},"d9471927b5de",[1561],"b1e0827cf596","Outmoded and out of time, the work was kept out of sight for decades,",{"_key":1564,"_type":12,"marks":1565,"text":1566},"22efe869d6ee",[]," omitted from Rauschenberg’s canon but still sending out quiet echoes that would be heard in the artist’s later works. Inherently ",{"_key":1568,"_type":12,"marks":1569,"text":1570},"d87e5372e5e0",[65],"personale",{"_key":1572,"_type":12,"marks":1573,"text":1574},"ab5c7ad4f00e",[],", it is at once “private, intimate, and secret.” ",[1576],{"_key":1561,"_type":145,"text":1577},[1578],{"_key":1579,"_type":8,"children":1580,"markDefs":1585,"style":16},"59265ce47e01",[1581],{"_key":1582,"_type":12,"marks":1583,"text":1584},"4d1afbdb2649",[],"After remaining at Twombly’s family home in Lexington, Virginia, until 1989, the work found its way to auction in 1992 (Sotheby’s, New York, May 7, 1992, lot 299), where it was acquired by the Menil Collection.",[],[1587],{"_key":1588,"_type":236,"alt":1589,"asset":1590,"caption":1593,"url":1602},"df7fbdb60091","A collection of framed paintings and empty picture frames leaning against a textured stone wall, with a bicycle wheel resting on the ground beside them.",{"_type":239,"asset":1591},{"_ref":1592,"_type":242},"image-3b01982b48c0ef0d8e12061241dd35ed5d7b39c0-3000x3000-jpg",[1594],{"_key":1595,"_type":8,"children":1596,"markDefs":1601,"style":16},"2fb2ced83576",[1597],{"_key":1598,"_type":12,"marks":1599,"text":1600},"1a55bf2fba4c",[],"Fig. 5. Flea market, Rome, ca. 1952. Photograph by Robert Rauschenberg",[],"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002F60h9uecp\u002Fproduction\u002F3b01982b48c0ef0d8e12061241dd35ed5d7b39c0-3000x3000.jpg",null,[1605],{"_key":1606,"_type":8,"children":1607,"markDefs":1633,"style":16},"b4f2f6adb068",[1608,1612,1615,1618,1621,1625,1629],{"_key":1609,"_type":12,"marks":1610,"text":1611},"2fc475e3fa73",[],"Giorgio Di Domenico, “‘In a rich, false history’: ",{"_key":1613,"_type":12,"marks":1614,"text":277},"5e50189109c8",[65],{"_key":1616,"_type":12,"marks":1617,"text":281},"86f2ba47589d",[],{"_key":1619,"_type":12,"marks":1620,"text":109},"db9b2c29b100",[65],{"_key":1622,"_type":12,"marks":1623,"text":1624},"d0de57e4738c",[],"),” ",{"_key":1626,"_type":12,"marks":1627,"text":1628},"e29372d2a81a",[65],"Robert Rauschenberg: Paintings and Sculptures, 1948–1953",{"_key":1630,"_type":12,"marks":1631,"text":1632},"75e2d0fc18bd",[],", Robert Rauschenberg Foundation, 2026, https:\u002F\u002Fcatalogue.rauschenbergfoundation.org\u002Fessays\u002Fscatole-e-fettici.",[],[1635],{"_key":1636,"_type":8,"children":1637,"markDefs":1666,"style":16},"7315b151c395",[1638,1642,1646,1650,1654,1658,1662],{"_key":1639,"_type":12,"marks":1640,"text":1641},"8c534393ffce",[],"Maya Deren, lecture, Cleveland Museum of Art, April 6, 1951, published as “New Directions in Film Art,” ",{"_key":1643,"_type":12,"marks":1644,"text":1645},"82813decedb5",[65],"Film Culture",{"_key":1647,"_type":12,"marks":1648,"text":1649},"6616611d1d10",[],", no. 29 (Summer 1963), p. 64, quoted and mentioned in relation to the ",{"_key":1651,"_type":12,"marks":1652,"text":1653},"ce4063d61749",[65],"Scatole ",{"_key":1655,"_type":12,"marks":1656,"text":1657},"8d07b5a1e3a5",[],"in Judith F. Rodenbeck, ",{"_key":1659,"_type":12,"marks":1660,"text":1661},"c3507e4085a6",[65],"Radical Prototypes: Allan Kaprow and the Invention of Happenings",{"_key":1663,"_type":12,"marks":1664,"text":1665},"797264c81fd0",[]," (Cambridge, Mass.: MIT Press, 2011), pp. 68–69. The word “subjectives” in Deren’s third sentence matches the original.",[],"default","indents",[1670],{"_key":1671,"_type":8,"children":1672,"markDefs":1685,"style":16},"cfd746ac17df",[1673,1675,1678,1681],{"_key":1613,"_type":12,"marks":1674,"text":277},[65],{"_key":1676,"_type":12,"marks":1677,"text":281},"2e948b92c81d",[],{"_key":1679,"_type":12,"marks":1680,"text":109},"9932870cafb1",[65],{"_key":1682,"_type":12,"marks":1683,"text":1684},"7ebb1a0c5050",[],")",[],[1687],{"_key":1671,"_type":8,"children":1688,"markDefs":1693,"style":16},[1689],{"_key":1690,"_type":12,"marks":1691,"text":1692},"90135a96b0b5",[],"“In a rich, false history”",[],[1695,1709],{"_key":1671,"_type":8,"children":1696,"markDefs":1708,"style":16},[1697,1700,1702,1705],{"_key":1690,"_type":12,"marks":1698,"text":1699},[],"“In a rich, false history”: ",{"_key":1613,"_type":12,"marks":1701,"text":277},[65],{"_key":1703,"_type":12,"marks":1704,"text":281},"621b54bfa54a",[],{"_key":1706,"_type":12,"marks":1707,"text":1653},"ecb28d9382c2",[65],[],{"_key":1710,"_type":8,"children":1711,"markDefs":1718,"style":16},"50b9b937fb68",[1712,1715],{"_key":1613,"_type":12,"marks":1713,"text":1714},[65],"e Feticci Personali",{"_key":1716,"_type":12,"marks":1717,"text":1684},"a24e5395712c",[],[],{"_type":1720,"current":1721},"slug","scatole-e-fettici",1792773429320]