Marcel Duchamp
Life
Marcel Duchamp was born in Blainville-Crevon Seine-Maritime in the Haute-Normandie region of France, and grew up in a family enjoying the cultural activities. The art of the painter and engraver Emile Nicolle, his maternal grandfather, filled the house and the family liked to play chess, read books, painting and making music together.
Three Duchamp brothers, left to right: Marcel Duchamp, Jacques Villon and Raymond Duchamp-Villon in the garden of Jacques Villon study in Puteaux, France 1914, (Smithsonian Institution collections.)
Eugene and Lucie Duchamp seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of:
Jacques Villon (1875-1963), painter, engraver
Raymond Duchamp-Villon (1876-1918), sculptor
Suzanne Duchamp-Crotti (1889-1963), painter.
As a child, with her two older brothers already away from home at school in Rouen, Duchamp was close to his sister Suzanne, who was an accomplice provisions of games and activities conjured from his fertile imagination. At 10 years, Duchamp followed in the footsteps of his brothers when he left the house and began his studies at the Lycée Corneille in Rouen. Over the next seven years, was locked in a educational system that focused on intellectual development. Although not an outstanding student, his best subject was math and won two awards in mathematics at school. He also won a prize drawing in 1903, and at its inception in 1904 won a coveted first prize, validation of its recent decision to become an artist.
Learned academic drawing from a teacher who tried unsuccessfully to protect their students Impressionism, Post-Impressionism and other avant-garde influences. However, true Duchamp artistic mentor was his brother Jacques Villon, whose fluid and incisive style that seeks imitate. At 14, his first serious art attempts were drawings and watercolors representing his sister Suzanne in various poses and activities. That summer he also painted landscapes in a style Impressionist oils.
Early work
Duchamp's first art line up with the styles of post-Impressionist works. He experimented with techniques and classical themes, as well as Cubism and Fauvism. When asked later about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was no outward anti-academic, but quietly individual.
She studied art at Julian Acadmie 1904-1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the pictures used visual and / or verbal puns. play with words and symbols engaged his imagination for the rest of his life.
In 1905 began his service Compulsory military, working for a printer in Rouen. There he learned typography and printing processes skills to use in his later work.
Due his older brother Jacques membership in the work of the prestigious Royal Acadmie Duchamp's painting and sculpture was exhibited at the 1908 Salon d'Automne. The following year his work was presented at the Salon des Indpendants. Duchamp's pieces in the show, critic Guillaume Apollinaire – who became a friendriticized so called "Duchamp ugly naked. "Duchamp made friends for life with an exuberant artist Francis Picabia after meeting him at the 1911 Salon d'Automne, and Picabia proceeded to introduce him to a life style of fast cars and "high" life.
In 1911, Jacques's house at Puteaux, the brothers organized a group regular discussion with other artists and writers including Picabia, Robert Delaunay, Fernand lger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris and Archipenko, Alexander. The group became known as the Puteaux Group, and the work of artists is called Orphic Cubism. We are not interested in the seriousness of the Cubists or in its approach visual field, Duchamp did not participate in the discussions of the Cubist theory, and gained a reputation for being shy. However, the same year he painted in a style Cubist, and added an impression of movement through the use of repetitive images.
During this period of Duchamp's fascination with the transition, change, movement and distance became manifest, and like many artists of that time, he was intrigued with the idea of representing a "fourth dimension" art.
Works from this period included his first "machine" of painting, coffee grinder (coffee Moulin) (1911), who gave his brother Raymond Duchamp-Villon. The coffee grinder shows similarity with the grinder "mechanism of the Large Glass was to paint years later.
In his 1911 Portrait Chess Players (Portrait joueurs d'Echecs) is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but for Duchamp added transport elements of mental unprecedented activity of the players. (In particular, "CHEC" is French for "failure.")
Marcel Duchamp. Nude Descending a Staircase, No. 2 (1912). Oil on canvas. 57 7 / 8 "x 35 1 / 8". Philadelphia Museum of Art
Nude Descending a Staircase 2
Main article: Nude Descending a Staircase, No. 2
Duchamp's first work to cause significant controversy was Nude Descending a staircase, No. 2 (Nu descendant escalier United Nations n 2) (1912). The painting depicts the mechanical movement of a nude with superimposed facets, similar to the movies. It shows both elements of fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists.
It was first introduced Part time to appear at the Salon des Indpendants cubist, but jurist Albert Gleizes asked Duchamp brothers to him voluntarily withdraw the painting or to paint over the title he had painted the work and rename it something else. Duchamp's brothers come to him with the request Gleizes, Duchamp, but declined in silence. Incidents Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that there would be very interested in groups after that. "
Later, he sent the painting to the 1 913 Show "Armory ' in New York City. The exhibition was officially named the International Exhibition of Modern Art, presents works from American artists, and was also the first major exhibition modern trends emerging from Paris. America show, the audience, accustomed to realistic art, were scandalized, and the nude was at the center of much of the dispute.
Leaving "retinal art" behind
At about this time, Duchamp read Max Stirner's philosophical tract, The only and property, the study of what he considered another turning point in his artistic and intellectual development. He called that "… a remarkable book … advancing any formal theory, but just keep saying that the ego is always in everything. "
Duchamp also noted the 1910 stage adaptation of Raymond Roussel novel, Impressions d'Afrique which featured plots which became in themselves, word play, surrealistic sets and humanoid machines. He attributes the drama had radically changed his approach to art, and inspired him to start making his The Bride Stripped Bare by her Bachelors, Even, also known as The Large Glass.
While in Germany in 1912 painted the last of his Cubist paintings, as I began to "Bride Stripped Bare by Her Bachelors' of image, and began making plans for The Large Glass scribbling short notes to himself, sometimes with hurried sketches. It would be more than 10 years before this piece was completed. Little else is known about the two-month stay in Germany, unless the friend who visited was intended to show you the sights and nightlife.
That same year he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains, an adventure that Buffet-Picabia described as a of their "forays of demoralization, which were also joke and asylum raids … the disintegration of the concept of art." Duchamp's travel notes to avoid logic and sense, and have a connotation surreal, mythical.
Duchamp painted canvases after 1912, and in which he tried remove "painterly" effects, and instead of using a technical drawing approach.
His broad interests led him to an exhibition of technology aviation during this period, after Duchamp said to his friend Constantin Brancusi, "Painting is finished. Who can do anything better than helix? Tell me, can you do that? "Brancusi later sculpted figures of birds, the U.S. Customs officials mistook for aviation parts and which tried to raise import duties.
During this decade Duchamp began working as a librarian in the Bibliotque Sainte-Geneviève, where he earned a living wage and withdrew from painting circles in academia. He studied mathematics and physics of the areas in which new and interesting discoveries were taking place. The theoretical writings of Henri Poincare in particular, intrigued and inspired Duchamp. Poincaré postulated that the laws that govern matter believed to have been created only by the mind that "understands" them and that no theory could be considered "true." "The things themselves are not what science can reach … but only the relations between things. Outside these relations there is no reality knowable, "Poincaré wrote in 1902.
Duchamp's own experiments art-science began during his tenure at the library. To make one of his favorite pieces, 3 Standard stops (3 stops heel), dropped three meters in January-lengths of thread in fabrics prepared, one at a time, from a height of 1 meter. The wires landed in three random undulating positions. I painted the strips where blue-black canvas and attached to glass. Then cut three wood slats into the curved shapes of the strings, and put the pieces into a croquet box. Three leather signs with the title printed in gold were glued to each of the "strike" the funds. The piece seems to literally follow Poincaré's School of the thread, which is part of a book on classical mechanics.
Jobs in The Large Glass continued in 1913 with his invention of inventing a repertoire of forms. He notes, sketches and painting studies, and even said some of his ideas on the wall of his apartment.
In their study a Bicycle Wheel mounted upside down on a stool, turning from time to time only to view. He later denied that its creation was decided, although it has come to be known as the first of his "ready-made." "I enjoyed looking at it" said. "As I like to watch the flames in the fireplace."
Meanwhile, Nude Descending a Staircase No. 2 U.S. shocked at the Armory Show, and the sale of four of his paintings in the exhibition financed his trip to America in 1915.
After the First World War was declared in 1914, with his brothers and many friends in the military and exempted himself, Duchamp was uncomfortable in Paris. Decided to emigrate to the United States, then neutral. To his surprise, discovered she was a celebrity when he arrived in New York in 1915, where he quickly befriended patron Katherine Dreier and artist Man Ray. Duchamp's circle included art patrons Louise and Walter Conrad Arensberg, actress and artist Beatrice Wood and Francis Picabia and other leading figures. Although he spoke little English, in the course of supporting himself by giving lessons and French through a library work, quickly learned the language.
For two years the Arensberg, which would remain his friends and clients for 42 years, were the owners of their study. Instead of rent, agreed that payment would be The Large Glass. A Duchamp art gallery offers $ 10,000 a year in exchange for all its annual production, but Duchamp declined the offer, preferring to work on The Large Glass.
Anonyme SOCIT
Duchamp created the SOCIT Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong involvement in art dealing and collecting. The group of complete works of modern art and modern art exhibitions and conferences throughout the 1930s.
By this time Walter Pach, one of the coordinators of the Armory Show 1913, sought Duchamp's advice on modern art. Beginning with SOCIT Anonyme, also depended Dreier Duchamp's counsel in the collection of his collection, as Arensberg. Later Peggy Guggenheim, Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp in his art collections modern shows.
Given
Source, 1917
New York Dada had a less serious tone than Europe Dadaism, and was not a company a strong organization. Duchamp's friend Picabia connected with the Dada group in Zrich, leading to New York the Dada ideas of absurdity and "anti-art." A group met almost every night at the Arensberg home or partying in Greenwich Village. Together with Man Ray, Duchamp contributed his ideas and humor to the activities of New York, many of whom ran concurrently with the development of their ready-made and The Large Glass. He also worked on the concept of "found art".
The most prominent association with Dada Duchamp was his presentation of the Fountain, a urinal, to the Society of Independent Artists show in 1917. Works of art on display Independent Artists were not selected by a jury, and all the pieces presented are shown. However, the fair management insisted that the source is not art and rejected in the series. This caused an uproar among the Dadaists and led Duchamp to resign from the board of the Independent Artists.
Along with Henri-Pierre Roch and Beatrice Wood, Duchamp published a magazine in New York Dada, entitled The Blind Man which included art, literature, humor and commentary.
When he returned to Paris after World War I, Duchamp did not participate in the group Dada.
Apparel
Bicycle Wheel by Marcel Duchamp (1913)
Leading Article: ready-made by Marcel Duchamp
"Ready-made" objects Duchamp were selected and presented as art. The primary objective of Bicycle Wheel them was an inverted bicycle wheel mounted on a stool, which met Duchamp in 1913. However, he did not coin the term "readymade" until 1915.
It is necessary to arrive at selecting an object with the idea of not being impressed by this object on the basis of the enjoyment of any order. However, it is difficult select an object that is absolutely not interested, not just the day you have selected, and they have no chance to become attractive or beautiful and which is neither pleasant exposed or particularly ugly. (Marcel Duchamp)
Bottle Rack (1914), a bottle Rack signed by Duchamp, is considered the first "pure" readymade. Prelude to a broken arm (1915), a snow shovel, also called before the Broken Arm, followed shortly thereafter. Your Source, a urinal signed with the pseudonym "R. Mutt ", shocked the art world in 1917. Source was selected in 2004 as" the most influential artwork of the 20th Century "by 500 renowned artists and historians.
In 1919, Duchamp made a parody of the Mona Lisa of adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription LHOOQ, a phonetic play, when read aloud in French quickly sounds like "Elle a chaud au cul". It can be translated as "She has the ass hot ", which implies that the woman in the painting is in a state of sexual excitement and availability. You may also have been intended as a Freudian joke, referring to alleged homosexuality of Leonardo da Vinci. Duchamp gave a "loose" translation of LHOOQ as "no fire down" in an interview with Arturo Schwarz end.
According to Rhonda Roland Shearer, the apparent reproduction Mona Lisa is in fact a copy partly on the model Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the things that he says has been "found."
The Large Glass
Main article: The Large Glass
The Large Glass (1915-1923) Philadelphia Museum of Art Collection
Duchamp carefully created a masterpiece, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), working on site from 1915 to 1923, with the exception of periods in Buenos Aires and Paris in 1918-1920. She completed her work in two layers of glass and materials like lead foil, fuse wire, and dust. It combines chance procedures, plotted studies perspectives, and laborious craftsmanship. His notes of the work, published as The Green Box, reflect the creation of unique rules of physics, and mythology describes the work. He stated that his "hilarious picture" is to describe the encounter between a bride and her bachelors erratic nine.
Until 1969, when the Philadelphia Museum of Art revealed donnés donns box Duchamp, The Large Glass was thought to have been his last great work.
Kinetics of works
Duchamp's interest in kinetic works can be discerned already in the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "state of the retina ", has maintained an interest in visual phenomena.
In 1920, with the help of Man Ray, Duchamp sculpture built a motor, rotating plates verre, optique of prcision ("Rotary Glass Plates, precision optics"). The piece, which do not consider art, involved a motor for rotating parts rectangular glass that were painted on the segments of a circle. When the device rotates, there is an optical illusion, in which the segments are close circles concentric. (Animation of rotating glass plates)
Man Ray set up equipment to photograph the initial experiment, but when he returned the machine for second time, broke a belt and took a piece of glass, which after looking at Man Ray's head, broken into pieces.
Upon returning to Paris in 1923, André Breton on the urgency and the funding of Jacques Doucet, Duchamp built another optical device based on the first – Rotary Demisphre, optique of prcision (Rotary Demisphere, Precision Optics). This time, the optical element was a world reduced to half with black concentric circles painted in it. When rotated, the circles appear to move backwards and forwards in space. Duchamp asked that Doucet not exhibit the device as art.
Rotoreliefs were the next phase of the works of Duchamp spinning. To make the optical "play toys" that he painted pictures of flat cardboard circles and spun them on a phonographic turntable. When rotating, the flat disks appeared in three dimensions. There was a printer will produce 500 sets of six designs, and establish a booth at a 1935 show in Paris inventors to sell. The company was a financial disaster, but some optical scientists thought they might be of use in the restoration of three-dimensional stereoscopic vision to people who have lost vision in one eye. (Animated display Rotoreliefs)
In collaboration with Man Ray and Marc Allgret, Duchamp filmed early versions of the Rotoreliefs and called the movie Anmic Cinma (1926).
Later in the study of Alexander Calder in 1931, while observing the work of kinetic sculptor, Duchamp suggested that these should be called "mobiles." Calder agreed using this term in his novel next show. Today, the sculptures of this type are called "mobiles."
Rrose Slavy
Rrose Slavy (Marcel Duchamp). 1921. Photograph by Man Ray. Art Direction by Marcel Duchamp. Bromide. 5-7/8 "x 3" -7 / 8. "Philadelphia Museum of Art.
Main article: Rrose Slavy
"Rrose Slavy", also spelled Slavy Rose, was one of Duchamp's pseudonyms. The name, a pun, sounds like the French phrase "Eros, c'est la vie", which can be translated as "Eros, that's life." It has also been read as "arròs la vie" ("to make a toast to life").
Slavy emerged in 1921 in a series of photographs by Man Ray showing Duchamp dressed as a woman. Through the 1920s, Man Ray and Duchamp collaborated on more photos Slavy. Duchamp later used the name as the line copyright in the written and signed several creations of it. These included at least one sculpture, why not sneeze Rrose Slavy?. The sculpture, a type of readymade called a set, consists of an oral thermometer, and dozens of small cubes of marble resembling sugar cubes inside a birdcage.
The inspiration for the name "Rrose Slavy" may have been Belle da Costa Greene, JP Morgan's librarian of the Pierpont Morgan Library. After the death of JP Morgan, Sr., Greene became Director of the Library, working there for a total of forty-three years. Empowered by Morgan, he built the library, purchase and sale of rare manuscripts, books and art. [Citation needed]
The transition from the art of chess
In 1918 Duchamp paused at the scene Art New York, stopping work in the Large Glass, and went to Buenos Aires, Argentina. He remained for nine months and often play chess. Even carved of wood from his own game of chess, with the help of a local craftsman made the knights. He moved to Paris in 1919, and then back to the United States in 1920. On his return to Paris in 1923, Duchamp was, in essence, is no longer a practicing artist. Instead, he played chess, he studied for the rest of his life to the exclusion of many other activities.
Duchamp can be seen, very briefly, playing chess with Man Ray in the short Intermission (1924) by René Clair. He designed the poster of the 1 925 Third French Chess Championship, and as a competitor at the event, finished a fifty percent (3-3, with two draws). Thus he earned the title of master chess. During this period his fascination with chess so sad, his first wife that she glued his pieces to the board. Duchamp continued to play in the French Championship and also in the Olympics from 1928-1933, favoring hypermodern openings like the Nimzo-Indian.
Sometimes in the early 1930s, Duchamp came to the height of its capacity, but realized that there was little chance of winning recognition in the high-level chess. In the following years, his participation in chess tournaments decreased, but he discovered correspondence chess and became a chess journalist writing weekly newspaper columns. While his contemporaries were achieving spectacular success in the art world by selling his works to collectors of high society, Duchamp observed "I am still a victim of chess. It has all the beauty of art – and much more. It can not be marketed. Chess is much purer than art in its social position. "On another occasion, Duchamp developed, which chess pieces are the block alphabet which shapes thoughts, and these thoughts, although making a visual design on the chessboard, express their beauty abstractly, like a poem … I have reached the personal conclusion that while all artists are not chess players, all chess players are artists.
In 1932 Duchamp teamed up with the chess theorist Halberstadt to publish Vitaly L'opposition and idealized cases sont rconcilies (Opposition and Sister Squares are reconciled) known as boxes. This treatise describes the Lasker-Reichhelm position, a very rare type of position that may arise in the final. Using tables as the Enneagram, which fold back on themselves, the authors showed that in this position, most Black can hope for is a draw.
The theme of the end "it is important for the understanding of Duchamp's complex attitude in the way of his artistic career. Irish playwright Samuel Beckett was an associate of Duchamp, and used the as a narrative theme for the 1957 work of the same name, "Endgame." In 1968, Duchamp played an important artistic game of chess with the composer edge John Cage, in a concert entitled "Reunion". The music was produced by a series of photoelectric cells underneath the chessboard, triggered sporadically by the normal.
When choosing a career in chess, Duchamp said: "If Bobby Fischer came to me for advice, I certainly do not discourage him – As if anyone could – but I would try to do it positively clear that he will never have any money from chess, live a monk-like denial and know more than any other artist ever has, struggling to be known and accepted. "Duchamp left a legacy for chess as a problem of enigmatic end composed in 1943. The problem was included in the announcement for the exhibition of Julian Lev Gallery "Through the grand finale of the twins", printed on translucent paper weak with the inscription: "White to play and win." grandmasters and experts end have since grappled with the problem, with most end there is no solution.
Artistic involvement and marriages
Although Duchamp was no longer considered an active artist, he continued to consult with artists, art dealers and collectors. Since 1925, often traveled between France and the United States, Greenwich Village and made New York his home in 1942.
In June, 1927, Duchamp married Lidia-Lavassor Sarazin, however, divorced six months later. It was rumored that Duchamp had chosen a marriage of convenience Sarazin-Lavassor because she was the daughter of a wealthy automobile manufacturer. In early January 1928, Duchamp said he could no longer bear the responsibility and confinement of marriage, and shortly thereafter divorced.
In the mid-1930s onward, collaborated with the Surrealists, however, joined the movement despite the praise from André Breton. From then until 1944, along with Max Ernst, Eugenio Granell and Breton, Duchamp edited the Surrealist periodical VVV, and also served as advisory editor for the magazine View, which was presented in March 1945 issue, which we presented to a wider American audience.
In 1954, he and Alexina "Teeny" Sattler married and remained together until his death. Duchamp became a United States citizen in 1955.
Its influence on the art world remained behind the scenes until the end of 1950, when it was "discovered" by young artists like Robert Rauschenberg and Jasper Johns, they were eager to escape the dominance of Abstract Expressionism.
Duchamp's interest was revived in the 1960s and earned recognition international audience. 1963 saw his first retrospective at the Pasadena Art Museum, and in 1966 the Tate Gallery hosted a major exhibition of his work. Other major institutions such as the Philadelphia Art Museum and the Metropolitan Museum of Art, followed, with projections for much of the work of Duchamp. He was invited to lecture on art and participate in formal debates, and the session of interviews with major publications.
As the last survivor of the Duchamp family of artists, In 1967 Duchamp helped organize an exhibition in Rouen, France, called "Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp." Some parts of this exhibition of the family will later back in the Muse National d'Art Moderne in Paris.
Design Exhibition
Duchamp was the designer of the 1938 International Surrealist Exhibition held at the Gallerie des Beaux-Arts in Paris. The show attracted more than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs and installations.
The Surrealists wanted to organize a exhibition which in itself is a creative act, and asked Duchamp to do so. At the entrance of the exhibition put Rainy Taxi Salvador Dal This work was in a cab rigged to produce a jet of water through the inside of windows, a shark-headed creature in the driver's seat and a blond mannequin full of snails living in the back. In this way, customers get greeted Duchamp, who were in evening dress.
Surrealist Street filled one side of the lobby with mannequins dressed by various Surrealists. The main hall was a simulation of a dark underground cave with 1,200 coal bags suspended from the ceiling. Lighting only offered by a single light bulb, so that customers were given flashlights with which to view art.
A Paalen Wolfgang installation consists of oak leaves and a water-filled pond with water lilies and rushes, and the aroma of roasted coffee filled the air. Around midnight, visitors saw the glow of a girl dancing of scantily clad suddenly rose from the reeds, jumped on a bed, cried hysterically, and then disappeared just as quickly. Much to satisfaction of the exposure surreal shocked viewers.
In 1942, for the first documents of Surrealism show in New York, surrealists again called on Duchamp to design exhibition. This time he wove a standard three-dimensional network in the quarter-space, in some cases making it almost impossible see the works. Duchamp made a secret deal with the son of a partner to bring young friends to the opening of the fair. When the well-dressed guests arrived, they found a dozen of children in athletic clothes kicking and passing balls, and jumping rope. Duchamp designed the catalog for the exhibition were "found", instead that presents photographs of the artists.
Donnés donns, 1946-1966, mixed media, Philadelphia Museum of Art This was after his death and Installation Standing in the museum in 1969
Donns Donnés
Main article: donns donnés
Duchamp's final major art surprised the art world that believed he had abandoned art for chess 25 years earlier. Titled donns donnés: 1 La Chute d'eau / 2 gas d'you clairage ("Given: 1. The Waterfall, 2. The Illuminating Gas), is a painting, visible only through a peephole in a wooden door. A woman can be seen lying naked on her back with her face hidden, with legs and a hand holding a gas lamp in the air against a backdrop of the landscape. Duchamp had worked in secret on the part of 1946-1966 in his Greenwich Village studio while even his closest friends thought he had abandoned art.
Death and burial
Marcel Duchamp died on October 2, 1968 in Neuilly-sur-Seine, France, and is buried in the cemetery of Rouen, Rouen, France. His grave bears the epitaph, "D'ailleurs c'est toujours les autres qui meurent 'or" Besides, it's always other people who die. "
Legacy
A quote wrongly attributed to Duchamp suggests a negative attitude to later trends in 20th century art:
This Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered the ready-mades I tried to discourage aesthetics. In Neo-Dada they have taken my ready-mades and found aesthetic beauty in them, I threw the bottle rack and a urinal in the face as a challenge and now admired for its beauty aesthetics.
However, this was written in 1961 by fellow Dadaist Hans Richter in the second person, ie "You threw the bottle rack …". In spite of a marginal note in the letter suggests that Duchamp generally approved of the statement, Richter did not make the distinction clear until many years later.
Duchamp's attitude was actually more favorable, as demonstrated by another statement made in 1964:
Pop Art is a return to "conceptual" painting, virtually abandoned, except by the Surrealists, since Courbet, in favor of painting Retinal … If you take a Campbell soup can be repeated 50 times, you're not interested in the image retinal. What matters is the concept you want to put 50 Campbell soup cans on a canvas.
The Prix Marcel Duchamp (Marcel Duchamp), established in 2000, an annual award given to a young artist Georges Pompidou Center. In 2004, as a testament to the legacy of Duchamp's work to the art world, its source was chosen as "work most influential art of the 20th century "by a panel of prominent artists and art historians.
See also
Anti-art
Armory Show
History of painting
Western Painting
Shock art
The selected works
Portrait of players chess (joueurs d'Echecs Portrait) (1911). Philadelphia Museum of Art
Nude Descending a Staircase, No. 2 (United Nations descendant Nu Escalier. No. 2) (1912). Philadelphia Museum of Art
Ready-mades of Marcel Duchamp (1915 -)
Fountain (1917)
LHOOQ (1919)
The Bride Stripped Bare by Her Bachelors, Even (The Marie nu par ses bad clibataires, mme). Often called the Large Glass. (1915-1923). Philadelphia Museum of Art
The Green Box. Notes and studies for The Bride Stripped Bare by Her Bachelors, Even. (1915-1923) Philadelphia Museum of Art
Rrose female Slavy (1921 -) Duchamp's "alter-ego" signed some works and was photographed by Man Ray.
Rotoreliefs (1920) External link
Obligation to Monte Carlo (1924) also called Monte Carlo Bond. First made as a lithograph and collage in 1924 and again in 1938 as a lithograph for the art magazine XX Siècle Paris. External link
Cinma Anmic Film (1926) UbuWeb
Given: 1 The Waterfall, 2. The Illuminating Gas. (In French: donns donnés: 1. La Chute d'eau / 2. Gaz d'you clairage. Translation note: "donns donnés" translates from French into English as "Being given", with emphasis existing in the "being" however, the work is known in English as a given: 1 ….) (1946-1966) Philadelphia Museum of Art (external view) (interior view)
Quotes
"Unless an image crisis, it's nothing."
"Chess can be described as the movement of pieces eating one another."
"I'm interested in ideas, not merely in visual products."
"I am still a victim of chess. Has all the beauty of art – and much more. It can not be marketed. Chess is much purer than art in its social position. "
"I do not believe in art. I believe in artists."
"I have forced myself to contradict myself to avoid conforming to my liking."
"Living is more a question of what one spends than what one does. "
"The individual, man as man, man as a brain, if you like, interests me more than him does, because I've noticed that most artists only repeat themselves. "
Notes
^ Tomkins: Duchamp: A biography.
^ Marcel Duchamp, from Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957.
^ Tomkins: Duchamp: a biography, pages 181-186.
^ "Duchamp's urinal tops art survey", BBC News December 1, 2004.
Marting ^ Frame (2003). "Mona Lisa: Who is behind the woman with the mustache?". Science Art Research Laboratory. http://www.artscienceresearchlab.org/articles/panorama.htm. Retrieved on April 27, 2008.
^ Tomkins: Duchamp: A Biography, pages 227-228.
^ Tomkins: Duchamp: A Biography, pages 254-255.
^ Tomkins: Duchamp: A Biography, pages 301-303.
^ Tomkins: Duchamp: A Biography, pages 294.
^ "Being Duchamp "by Lotringer Sylvre
^ Brady, Frank: Bobby Fischer: Profile of a Prodigy, Courier Dover Publications, 1989, p. 207.
Beliavsky ^, A & Mikhalchishin, A: Winning Endgame Technique Batsford, 1995.
^ Hulten, Pontus. Marcel Duchamp, Work and Life: Ephemerides on and about Marcel Duchamp and Rrose Selavy, 1887-1968. Pages 8-9 June (1927) 25 January (1928). ISBN 0-262-08225-X.
^ "(Ab) Use of Marcel Duchamp: The Concept the ready-made in the Post-war and contemporary art in America "by Thomas in Girst toutfait.com, Number 5, 2003)
References
Tomkins, Calvin: Duchamp: A Biography, Henry Holt and Company, Inc., 1996. ISBN 0-8050-5789-7
Seigel, Jerrold: the private worlds of Marcel Duchamp, University of California Press, 1995. ISBN 0-520-20038-1
Hulten, Pontus (editor): Marcel Duchamp: Work and Life, The MIT Press, 1993. ISBN 0-262-08225-X
Yves Arman: Marcel Duchamp plays and wins, Marcel Duchamp joue et Gagne, Marval Press, 1984
Cabanne, Pierre: Dialogs with Marcel Duchamp, Da Capo Press, Inc., 1979 (1969 in French) ISBN 0-306-80303-8
Duchamp Bottles Bella Greene: Desserts only for its Canning by Bonnie Jean Garner (with text boxes by Stephen Jay Gould)
Gibson, Michael: Duchamp, Dada, (in French, Nouvelles Editions franais-Casterman, 1990) International Art Prize Paper Award in 1991 Vasari.
Sanouillet, Michel and Peterson, Elner, the writings of Marcel Duchamp. NY: Da Capo Press, 1989. ISBN 0-306-80341-0
Catherine Perret Marcel Duchamp, he manieur of gravitas, Ed CNDP, Paris, 1998
External Links
Wikimedia Commons has media related to Marcel Duchamp
Duchamp works
Philadelphia Museum of Art Collection houses Arensberg "much of the work of Duchamp. (Website)
The Israel Museum has many of Duchamp's works in her Vera and Arturo Schwarz Collection of Dada Art and surreal. (Website)
The Museum of Modern Art has many works of Duchamp. (Website)
An explanation of the "Roue of bicyclette" Duchamp (website)
Dossier: Marcel Duchamp, the Centre Pompidou
Duchamp Testing
Marcel Duchamp: the creative act (1957) Audio Text
General Resources
Andrew Stafford: Making Sense of Marcel Duchamp – animated explanations.
Tant Duchamp.com Marcel Donn – annual review published by L'Association pour l'Etude of Marcel Duchamp.
Toutfait: The Marcel Duchamp Studies Online Journal
MarcelDuchamp.org – Personal page dedicated to Duchamp.
MarcelDuchamp.net – Art Science Research Laboratory site about the search for Duchamp.
Marcel Duchamp – Olga's Gallery pages with biography and pictures.
Marcel Duchamp Rotoreliefs – animated.
Marcel Duchamp (DADA Companion) – The partner online research.
Inventing Marcel Duchamp: The Dynamics of Poraiture – Online exhibition from the National Portrait Gallery, Smithsonian Institution.
Marcel Duchamp: cooler than Warhol – A great multimedia presentation on the history of Duchamp and work.
ChessGames.com profile
Essays about Duchamp
Marc Dcim: Marcel Duchamp bad nu. A propos du processus cratif (Marcel Duchamp Stripped Bare. About the Law creator), Les presses du rel, Dijon (France), 2004.
Marc Dcim: The Library Marcel Duchamp, perhaps (The Bibliothque of Marcel Duchamp, peut-tre), Les presses du rel, Dijon (France), 2001.
Lydie Fischer Sarazin-Levassor, A Marriage in Check. The heart of the Bride Stripped of his title, even, Les Presses du rel, Dijon (France), 2007.
Rhonda Roland Shearer: Marcel Duchamp and other non-bed Impossible, "" ready-made objects: a possible channel of influence from art to science
Michael Beyer: Duchamp is Dandy!
Hilton Kramer: "Duchamp and his legacy," the new approach
Morgan Meis: "Peep Show" Marcel Duchamp donns ant. "The Smart Set
Audio and video
Voices of Dada, Futurism and Dada Reviewed and Surrealism Reviewed – readings by Duchamp on the audio CD
UbuWeb – Music, lectures, and film
Duchamp's Legacy with Richard Hamilton and Sarat Maharaj from Tate Britain. (RealPlayer required.)
Marcel Audio Duchamp Some texts from "A l'infinitif" (1912-1920). Recorded by Aspen Magazine (4:00) published at Tellus Audio Cassette Magazine @ UbuWeb
Persondata
NAME
Duchamp, Marcel
ALTERNATIVE NAMES
Duchamp, Henri-Robert-Marcel
SHORT DESCRIPTION
Painting, Sculpture, Film
DATE OF BIRTH
28/07/1887
PLACE OF BIRTH
Blainville-Crevon, France
DATE OF DEATH
10/02/1968
PLACE OF DEATH
Neuilly-sur-Seine, France
Categories: 1887 births | deaths 1968 | de Seine-Maritime | artists | American Conceptual artists | Dada | Surrealist artists | French experimental filmmakers | French artists technique Mixed | French painters | French sculptors | Modern artists | Naturalized citizens of immigrants from the United States | United States France | Artists New York | Players Pataphysicians chess | French | 20th century French writers | French chess writers | People from Greenwich Village, New YorkHidden categories: All articles with unsourced statements | Articles lacking reliable references from August 2007 About the Author
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