The Collectible Doll

Mme Alexander

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 enjoyed cultural activities. The art of the painter and engraver Emile Nicolle, his maternal grandfather, filled the house and the family likes to play chess, read books, and painting together music.

Three Duchamp brothers, left to right: Marcel Duchamp, Jacques Villon and Raymond Duchamp-Villon in the garden of the studio Jacques Villon in Puteaux, France 1,914, (Smithsonian collection.)

By Eugene and Lucie Duchamp seven children, one died as a child and four became successful artists. Marcel Duchamp was the brother of:

Jacques Villon (1875-1963), painter, graphic artist

Raymond Duchamp-Villon (1876-1918), sculptor

Suzanne Duchamp, Crotti (1889-1963), painter.

As a child, with his two older brothers already away from home at school in Rouen, Duchamp was close to his sister Suzanne, who was a willing accomplice of games and activity evoked by his fertile imagination. At 10 years old, Duchamp followed in his brothers footsteps when he left home and started training Lyce Corneille in Rouen. For the next seven years, he was locked in an educational system that focuses on intellectual development. Though he was not an excellent student, his best subject was mathematics and he two mathematics awards at the school. He also won a prize for drawing in 1903, and at its inception in 1904, he won the coveted first prize, validating his recent decision to artist be.

He learned academic drawing from a teacher who tried unsuccessfully to his students from Impressionism, Post-Impressionism and other avant-garde influences protection. However, Duchamp real artistic mentor was his brother Jacques Villon, whose fluid style and sharp he sought to imitate. At 14, his first serious art attempts were drawings and watercolors by his sister Suzanne in different postures and activities. That summer he also painted landscapes in an Impressionist style using oils.

Early work

Duchamp's early art works to comply with post-impressionist style. He experimented with classical techniques and subjects, as well as cubism and Fauvism. When he was later asked about what had influenced him at the time, Duchamp cited the work of the Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but quietly individual.

He studied art at the Julian Acadmie 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use visual and / or verbal puns. , Playing with words and symbols which his imagination for the rest of his life.

In 1905 he began his military service, working for a printer in Rouen. There he learned typography and printing processes skills he would use in his later work.

Due to his eldest brother Jacques' membership in the work of the prestigious Acadmie royale de peinture Duchamp et de sculpture was exhibited at the 1908 Salon d'Automne. The following year his work was included in the Salon des Indpendants. Duchamp's pieces in the show, critic Guillaume Apollinaire – who had become a friendriticized what he called "ugly nudes Duchamp." Duchamp also friends for life with exuberant artist Francis Picabia, after meeting him at the 1911 Salon d'Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and 'high' live.

In 1911, Jacques home "in Puteaux, the brothers hosted a regular discussion group with other artists and writers including Picabia, Robert Delaunay, Fernand Lger, Roger de la Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, and Alexander Archipenko. The group was known as the Puteaux Group, and the artists' work was renamed to Orphic Cubism. Not interested in the Cubists' seriousness and their focus on visual matters, Duchamp is not included in the discussions of the Cubist theory, and obtained a reputation shy. However, that same year he painted in a cubist style, and added a sense of movement through repetitive images.

During this Duchamp's fascination for the transition period, change, movement and distance became manifest, and like many artists of that time, he was fascinated by the concept of image a "fourth dimension" in art.

Works from this period included the first "machine" painting, Coffee Mill (Moulin CAF) (1911), which he gave to his brother Raymond Duchamp-Villon. The Coffee Mill shows similarity to the "grinder" mechanism of the Large Glass, he was years later paint.

In his 1911 Portrait of chess (Portrait de joueurs d'Echecs) is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but for Duchamp added elements conveying the unseen mental activity of the players. (Especially "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 No.2

Main Article: Nude Descending a Staircase, No. 2

first work by Duchamp to provoke considerable controversy was Nude Descending a Staircase, No. 2 (now descendant un escalier n 2) (1912). The painting shows the mechanical movement of a nude with superimposed facets, similar to moving images. It shows elements of both the fragmentation and the synthesis of the Cubists, and the movement and dynamism of the Futurists.

He first submitted the piece to appear at the Cubist Salon des Indpendants 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 name it something else. Duchamp's brothers did approach him with Gleizes's request, but Duchamp quietly refused. Of the incident 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 I was not very interested in groups thereafter. "

He later presented the painting to the 1913 "Armory Show" in New York City. The exhibition was officially named the International Exhibition of Contemporary Art exhibits works by American artists, and was also the first major exhibition of modern trends coming out of Paris. American show-goers, accustomed to realistic art, were scandalized, and the Nude was at the center of much of the controversy.

Leaving "retinal art" behind

At this time, Duchamp read philosophical treatise by Max Stirner, The Ego and his own, the study of which he considered another turning point in his artistic and intellectual development. He called it "… a remarkable book … which advances no formal theories, but will only say that the ego is always there in everything."

Duchamp also noted the stage adaptation of Raymond Roussel's 1910 novel, Impressions d'Afrique, which parcels introverted, puns, surreal sets and humanoid machines is recommended. He credited the drama with having changed his approach to art, and that inspired him to establish his The Bride Stripped Bare Her First Bachelors, Even, also known as The Large Glass.

While in Germany in 1912 he painted the last of his Cubist-like paintings, and he began "Bride Stripped Bare by Her Bachelors "image, and began planning 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 months spent in Germany, except that the friend he visited was intent to show him the sights and nightlife.

Later that year he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia by the Jura Mountains, an adventure that Buffet-Picabia described as one of their raids demoralization, which were also forays of witticism and clowning … the disintegration of the concept of art. "Duchamp's Notes from the trip avoid logic and reason, and have a surreal, mythical connotations.

Duchamp few canvases painted after 1912, and in which he did, he tried to "painterly" effects removed, and instead to a technical drawing approach.

His broad interests led him to an exhibition of aviation technology during this period, after Duchamp told his friend Constantin Brancusi, "Painting is washed up. Who will ever do anything better than that propeller? Tell me, can you do?" Brancusi later sculpted bird forms, Douaniers held by the U.S. for aviation parts and what they tried to collect import duties.

During this decade Duchamp began working as a librarian in the Bibliotque Vive Sainte-Gene, where he earned a living wage and withdrew from painting circles in scientific fields. He studied mathematics and physics areas where exciting new discoveries were held. The theoretical writings of Henri Poincare particularly intrigued and inspired Duchamp. Poincaré postulated that the laws are passed that matter measures were created solely by the thought that "understood" and that no theory can be considered "true". "Things do not what science can reach … but only the relations between things. Outside these relations there is no knowable reality, "Poincaré wrote in 1902.

own Duchamp's art-science experiments began during his career at the library. One of his favorite pieces, 3 Standard Stop Pages (3 stoppages Talon), he has three 1-meter length of the wire cloths are prepared, one by one, from a height of 1 meter. The wires landed in three random undulating positions. He painted them instead of blue-black canvas strips and attached them to glass. He then cut three wood slats in the shape of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed gold were glued to each of the "strike" backgrounds. The piece seems to literally follow Poincaré's School of wire, part of a book on classical mechanics.

Work on The Large Glass continued into 1913, with his invention of inventing a repertoire of forms. He took notes, sketches and painted studies, and even drew some of his ideas on the wall of his apartment.

In his studio he mounted a bicycle wheel upside down on a stool, spinning it occasionally just to watch it. Later he denied that its creation was purposeful, though come to be known as the first of its "Ready Mades. "I enjoyed of there to watch, "he said." Just as I like to watch the flames dancing in the fireplace. "

Meanwhile, Nude Descending a Staircase No. 2 scandalized Americans at the Armory Show, and the sale of all four of his paintings in the show 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 himself exempted, Duchamp felt uncomfortable in Paris. He decided to emigrate to the then neutral United States. To his amazement, he found that he was a celebrity when he arrived in New York in 1915, where he quickly befriended art 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 avant-garde figures. Although he spoke little English, under the support by giving French lessons and some library work, he quickly learned the language.

During the two years Arensberg, who would remain his friends and supporters 42 years were the landlords of his studio. Instead of renting, they agreed that his payment would be the Glass. An art gallery Duchamp offered $ 10,000 per year exchange for all of its annual production, but Duchamp refused the offer, preferring to work on The Large Glass.

Socit Anonyme

Duchamp created the Socit Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong commitment to trade and collect art. The group collected modern art, and arranged contemporary art exhibitions and lectures about the year 1930.

By this time Walter Pach, one of the coordinators of the 1913 Armory Show, Duchamp sought advice on modern art. Begin Socit Anonyme, Dreier also depends on the board of Duchamp gathering her collection, as Arensberg. Later Peggy Guggenheim, Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consultation with Duchamp on their modern art collections and shows.

Dada

1917 Fountain

New York Dada had a less serious tone than those of the European Dada and was not exactly an organized company. Duchamp's friend Picabia connected with the Dada group in Zurich, making New York the Dada ideas of absurdity and anti-art ". A group met almost every night at the Arensberg home or caroused in Greenwich Village. Together with Man Ray, Duchamp and his ideas humor contributed to the New York activities, many of which ran concurrent with the development of his readymades and large glasses. She also worked on the concept of "found art".

The most prominent example of association with Dada Duchamp was his submission of Fountain, a urinal, the Association of Independent Artists exhibit in 1917. Artworks independent artists in the shows were not selected by a jury, and all submissions were shown. However, the show committee insisted that Fountain was not art, and rejected out the show. This caused a storm of protest among the Dadaists and led Duchamp to resign from the board of the independent artists.

Together with Henri-Pierre Roche and Beatrice Wood, Duchamp published a New York Dada magazine called The Blind Man, where art, literature, humor and commentary included.

When he returned to Paris after World War I, Duchamp did not participate in the Dada group.

Ready Mades

Bicycle Wheel by Marcel Duchamp (1913)

Main article: Readymades of Marcel Duchamp

"Ready Mades" found objects Duchamp chose and presented as art. The object was first bicycle wheel, a reverse steering bicycle mounted on a crutch, Duchamp assembled in 1913. However, he did not coin the term "readymade" in 1915.

It is necessary to arrive at selecting an object with the idea that they are not impressed by this object based on the enjoyment of an order. It is difficult to select an object that is absolutely not interested, not only the day on which you select it, and who has no chance to be attractive or pretty and not pleasant to look at nor particularly ugly. (Marcel Duchamp)

Bottle Rack (1914), a bottle drying rack signed by Duchamp, is considered the first "pure" readymade be. Prelude to a broken arm (1915), a snow shovel, called Ahead of the Broken Arm, followed shortly thereafter. His Fountain, a urinal signed with the pseudonym "R. Mutt", shocked the art world in 1917. Fountain was selected in 2004 as "the most influential artwork of the twentieth century" by 500 renowned artists and historians.

In 1919, Duchamp made a parody of the Mona Lisa adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription LHOOQ, a phonetic game when aloud in French quickly sounds like "Elle a chaud au cul ". This can be translated as" She has a hot ass ", implying that the woman in the painting is in a state of sexual excitement and availability. It may also be intended as a Freudian joke, referring to alleged homosexuality of Leonardo da Vinci. Duchamp gave a "loose" translation of LHOOQ as "there is Fire Down Below "in a late interview with Arturo Schwarz.

According to Rhonda Roland Shearer, the apparent reproduction Mona Lisa is in fact a copy partly modeled on his own Duchamp face. Research published by Shearer speculates that Duchamp himself, some of the items he claimed to have been created from "found".

The 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 the piece from 1915 to 1923, excluding the periods in Buenos Aires and Paris in 1918 to 1920. He implementation of work on two sheets of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. His notes for the piece, published as The Green Box, reflect the creation of the unique rules of physics, and a mythology that describes the work. He stated that his "hilarious picture" is intended to erratic encounter between a bride and her nine bachelors portray.

Until 1969 when the Philadelphia Museum of Art showed Etant donne tableau Duchamp, The Large Glass was thought to have been his last major work.

Kinetic works

Duchamp interest in kinetic works can be seen as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art", he retained an interest in visual phenomena.

In 1920, with the help of Man Ray, Duchamp built a motorized sculpture, plaques Rotating far, the prcision Optique ("Rotary glass, Precision Optics). The piece, which he did not consider art, involved a motor with a rectangular glass pieces which were painted on pieces of a pie run. When the device is running, an optical illusion occurs, in which the segments appear to be closed concentric circles. (Animation of Rotary glass shelves)

Man Ray set up equipment to photograph the first experiment, but when they turned the machine on for the second time, a belt broke, and caught a piece of glass, after a glance from Man Ray's head shattered into pieces.

After moving back to Paris in 1923, Andre Breton and the insistence by financing Jacques Doucet, Duchamp built another optical device based on the first – Rotating Demisphre, the Optique prcision (Rotary Demi Sphere, Precision Optics). This time the optical element was a globe cut in half, painted with black concentric circles. If it runs, the circles seem to move forward and backward in space. Duchamp asked that Doucet device as art exhibit.

Love the rotor spinning next phase of work Duchamp. The optical "toys" he painted designs on flat cardboard circles and spun them on a phonographic turntable. When spinning the flat disks appeared three-dimensional. He had a printer producing 500 sets of six designs, and set up a booth at a 1935 Paris inventors' show to sell. The company was a financial disaster, but some optical scientists thought they might be of use in the repair of three-dimensional stereoscopic vision people who have lost vision of an eye. (Animated display of Rotor Love)

In collaboration with Man Ray and Marc Allgret, Duchamp filmed early versions of the Rotor Love and they called the movie Anmic Cinma (1926).

Later, in Alexander Calder's studio in 1931, while looking at the kinetic sculptor works Duchamp suggested that it should be mentioned "Mobiles". Calder agreed with this new term to use in his new show. To this day, images of these so-called "mobile phones".

Rrose Slavy

Rrose Slavy (Marcel Duchamp). 1921. Photo by Man Ray. Art Direction by Marcel Duchamp. Silver print. 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 can also be read as "arroser la vie "(" a toast to the life ").

Slavy formed in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman. By the year 1920 Man Ray and Duchamp collaborated on more photos of Slavy. Duchamp later used the name as the byline on written material and signed several creations with it. These include at least one sculpture, why not Sneeze Rrose Slavy?. The sculpture, a sort of ready-named assembly, consists of an oral thermometer, and several dozen cubes of sugar in a marble seem birdcage.

The inspiration for the name "Rrose Slavy" could have been Belle da Costa Greene, JP Morgan librarian the Pierpont Morgan Library. After the death of JP Morgan, Sr., Greene became the Library Director, who works for a total of forty-three years. Authorized by the Morgans, built them to the library collection, buying and selling rare manuscripts, books and art. [Citation needed]

Transition from art to chess

In 1918, Duchamp made a interruption of the New York art scene, interrupting his work on the Large Glass, and went to Buenos Aires, Argentina. He remained for nine months and often play chess. He has even cut his own wood chess set, with the help of a local craftsman made the knights. He moved to Paris in 1919, and then returned to the United States in 1920. Upon his return to Paris in 1923, Duchamp was essentially no longer practicing artist. Instead, he played chess, which he studied for the rest of his life to the exclusion of most other activities.

Duchamp can be seen, very briefly, playing chess with Man Ray in the short film Entr'acte (1924) by René Clair. He designed the 1925 poster for the Third French Championship, and as a competitor in the event, ended at fifty percent (3-3, with two draws). Thus he earned the title of chess master. During this period his fascination with chess, his first wife so distressed that she glued his pieces to the board. Duchamp continued playing in the French Championships and also in the Olympiads from 1928-1933, where hypermodern openings like the Nimzo-Indian.

Sometimes in the early 1930s, Duchamp reached the peak of his power, but realized that he had little chance of winning recognition in top-level chess had. In the following years, reduced his participation in chess tournaments, but he discovered correspondence chess and became a chess journalist, writing weekly columns. While his contemporaries were achieving spectacular success in the art world by selling their works high-society collectors, Duchamp observed "I am still a victim of chess It has all the beauty of art -.. and much more It can not be commercialized Chess is much purer than art in her. . Social position "On another occasion, Duchamp developed his 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 come to the personal conclusion that while all artists are not chess players, all chess players are artists.

In 1932 Duchamp teamed with Vitaly chess theorist Halberstadt to L'opposition et cases in conjugues sont rconcilies (Opposition and Sister Squares are reconciled), known as corresponding squares. This treatise describes the Lasker-Reich Helm position, an extremely rare form of exposure that may occur in the final. Using Enneagram-like graphs that fold over themselves, the authors demonstrated that in this position, the most Black can hope for a tie.

The theme of "Endgame" is important a good understanding of complex Duchamp attitude towards his artistic career. Irish playwright Samuel Beckett was an employee of Duchamp, and uses the theme as the narrative device for the 1957 play of the same name, "Endgame". In 1968, Duchamp played chess with a major artistic avant-garde composer John Cage, during a concert, entitled "Reunion". Music was produced by a series of photoelectric cells under the board, provided sporadically by normal game.

About Choosing a career in chess, Duchamp said: "If Bobby Fischer came to me for advice, I certainly would not discourage him – as if anyone could – but I would try to positively clear that he will never have money chess, live a monk-like existence and know more rejection than any artist ever, struggling to known and accepted. " Duchamp playing chess a legacy in the form of a mysterious ending problem he composed in 1943. The problem is included in the announcement for the gallery's exhibition Julian Lev "The Big End of the Opera Glass", printed on translucent paper with the faint inscription: "White to play and win" end game masters and specialists since struggled with the problem, with most close. that there is no solution.

Artistic involvement and marriages

Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors. From 1925 he traveled frequently between France and the United States, and made in New York Greenwich Village home in 1942.

In June 1927, Duchamp married Lydie Sarazin-Lavassor, but they divorced six months later. It was rumored that Duchamp was a sham marriage chosen because Sarazin-Lavassor was the daughter of a wealthy automobile manufacturer. Beginning in January 1928 Duchamp said he could no longer the responsibility and confinement of marriage bear, and shortly after they were separated.

From the mid-1930s, he collaborated with the Surrealists, but the movement did not count, despite the insistence of Andre Breton. From then until 1944, along with Max Ernst, Eugenio Granell and Breton, Duchamp edited the Surrealist magazine VVV, and served as an advisory editor for the magazine view, which featured him in its March 1945 edition, thus introducing him to a wider American audience.

In 1954, he and Alexina "Teeny" Sattler married and they remained together until his death. Duchamp became an American citizen in 1955.

His influence on the art world remained behind the scenes until the late 1950s, when he was discovered by young artists like Robert Rauschenberg and Jasper Johns, who were eager to escape the dominance of Abstract Expressionism.

Interest in Duchamp was ignited In the year 1960, and he gained international public recognition. 1963, his first retrospective exhibition at the Pasadena Art Museum, the Tate Gallery and in 1966 hosted a large exhibition of his work. Other major institutions including the Philadelphia Art Museum and the Metropolitan Museum of Art, followed with great performances of the work of Duchamp. He was invited to lecture on art and participate in formal discussions, and sitting for interviews with key publications.

If the last surviving member of the family of artists Duchamp, Duchamp in 1967 contributed to an exhibition in Rouen, France called "Les Duchamp organization: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp. "Parts of this family exhibition was later shown at the Muse National d'Art Moderne in Paris.

Exhibition Design

Duchamp was the designer of the 1938 International Surrealist Exhibition, which was held at the Gallerie des Beaux-Arts in Paris. The show more than 60 artists who from different countries, including about 300 paintings, objects, collages, photographs and installations.

The Surrealists wanted an exhibition of itself would make a creative act and called on Duchamp to do. At the entrance of the exhibition, he placed Salvador Dal Rainy Taxi This work consisted of a taxi rigged to a splash of water along the inside of the windows to produce a shark-headed creature in the driver's seat and a blond mannequin crawling with live snails in the back. In this way Duchamp greeted entering patrons 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 was only provided by a single light, so patrons were given flashlights with which to view art.

An installation by Wolfgang Paalen was composed of oak leaves and a water-filled pond with water lilies and reeds, and the aroma of roasting coffee filled the air. Around noon, the Visitors witness the dancing shimmer of a sparsely-dressed woman who suddenly arose from the reeds, jumped on a bed, screaming hysterically, then disappeared just as quickly. Much the surrealists' satisfaction the shame of the exhibition viewers.

In 1942, the first papers of surrealism show in New York, Surrealists again called on Duchamp to the exhibition design. This time he wove a three-dimensional web of string throughout the rooms of the room, in some cases making it almost impossible to work to see. Duchamp made a secret deal with the young son of an employee to bring friends to the opening of the show. When the finely dressed patrons arrived they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. Duchamp's design of the catalog for the show included "found", rather than made, photographs of the artists.

Étant donné, 1946-1966, mixed media, Philadelphia Museum of Art. This was posthumous and permanently installed in the museum in 1969

Etant donne

Main article: Etant donne

last great work of art Duchamp surprised the art world who believed he had abandoned art for chess 25 years earlier. Entitled Étant donné: 1 la chute d'eau / 2 le gaz d'clairage ("Given: 1 The Waterfall, 2 light-emitting Gas .."), is a tableau, visible only by a peep hole in a wooden door. A naked woman can be seen lying on her back with her face hidden, legs spread, and a hand holding a gas lamp in the air against a landscape background. Duchamp had secretly worked on the piece from 1946 to 1966 at his studio in Greenwich Village, while even his best friends thought he had left the art.

Death and burial

Marcel Duchamp deceased on October 2, 1968 in Neuilly-sur-Seine, France and is buried in the Rouen Cemetery, in Rouen, France. His grave bears the inscription: "D'ailleurs, c'est toujours les autres qui meurent," or "It is always other people who die."

Legacy

A quote wrongly attributed to Duchamp suggests a negative attitude towards 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 ready-mades that I wanted to discourage aesthetics. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle rack and the urinal into their faces as a challenge and now they can be admired for their aesthetic beauty.

This was largely written in 1961 by fellow Dadaist Hans Richter, in the second person, ie "You threw the bottle rack …". Although a comment in the letter suggests that Duchamp generally approved of the state, Richter has the distinction not until many years later.

Duchamp's attitude was basically favorable, as shown 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 retinal painting … If you are a Campbell soup can and repeat 50 times, you are not interested in the image on the retina. What interests you is concept that is up to 50 Campbell soup cans on a canvas.

The Prix Marcel Duchamp (Marcel Duchamp Prize), founded in 2000, is an annual award given to a young artist by the Centre Georges Pompidou. In 2004, as a testimony to the legacy of Duchamp's work to the art world, his Fountain was voted "most influential art of the 20th century by a panel of prominent artists and art historians.

See also

Anti-art

Armory Show

History painting

Western painting

Shock Art

Selected works

Portrait of chess (Portrait de joueurs d'Echecs) (1911). Philadelphia Museum of Art

Nude Descending a Staircase, No. 2 (Nu descendant un Escalier. No. 2) (1912). Philadelphia Museum of Art

Ready mades Marcel Duchamp (1915 -)

Fountain (1917)

LHOOQ (1919)

The Bride Stripped Bare by Her Bachelors, Even (La Marie par ses clibataires wrong now, 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 Slavy (1921 -) Duchamp's female "alter ego" who signed some works and was photographed by Man Ray.

Rotor Love (1920) External link

Obligation Monte Carlo (1924) also called Monte Carlo Bond. First done as a lithograph and collage in 1924 and again as a lithograph in 1938 at the Paris art revue XXe siècle. External Links

Anmic Cinma Movie (1926) www.ubu.com Words Without Borders

Given: 1 The Waterfall, 2. The illuminating gas. (French: Etant donne: 1 la chute d'eau / 2 le gaz d'clairage Translation Note: … "Etant donne" translates from French to English as "given", with emphasis on the existing 'Being' is the work is known in English as: 1 ….) (1946-1966) Philadelphia Museum of Art (outside view) (Inside view)

Quotes

"Unless a picture shocks, it's nothing."

"Chess can be described as the movement of pieces eating one another. "

"I am interested in ideas, not only in visual products."

"I'm still a victim of chess It has all the beauty of art -.. And much more It can not be commercialized Chess is much purer than art in her. social position. "

"I do not believe in art. I believe in artists."

"I forced myself to contradict myself to avoid conforming to my own taste. "

"Life is more a matter of what one spends than what one makes."

"The individual, man as a man, man as a brain, if you want, what interests me more than he does, because I have 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 Dec. 1, 2004.

^ Marting, Marco (2003). "Mona Lisa: Who is hidden behind the woman with the mustache?". Art Science Research Laboratory. http://www.artscienceresearchlab.org/articles/panorama.htm. Received 27 April 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, page 294.

^ "Becoming Duchamp" by Sylvre Lotringer

^ 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. Page 8-9 June (1927) to January 25 (1928). ISBN 0-262-08225-X.

^ "(Ab) Using Marcel Duchamp: The Concept of the Readymade of postwar and contemporary American art "by Thomas Girst on toutfait.com, May 2003 Issue)

References

Tomkins, Calvin: Duchamp: A Biography, Henry Holt and Company, Inc., 1996. ISBN 0-8050-5789-7

Seigel, Jerrold: The private world of Marcel Duchamp, the 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 Belle Greene: Just desserts for his Canning by Bonnie Jean Garner (with text boxes by Stephen Jay Gould)

Gibson, Michael: Duchamp-Dada, (in French, Nouvelles Editions Franaises-Casterman, 1990) International Art Book Award of the Vasari Prize in 1991.

Sanouillet, Michel and Peterson, Elner, the writings of Marcel Duchamp. NY: Da Capo Press, 1989. ISBN 0-306-80341-0

Catherine Perret Marcel Duchamp, Le manieur the gravit, Ed. CNDP, Paris, 1998

External links

Wikimedia Commons has media related to: Marcel Duchamp

Duchamp works

Philadelphia Museum of Art houses the Arens's' large collection of the work of Duchamp. (Website)

The Israel Museum Duchamp has many works in his Collection of Vera and Arturo Schwarz Dada and Surrealist art. (Website)

The Museum of Modern Art has many Duchamp works. (Website)

An explanation on "the Roue bicyclette" by Duchamp (website)

File: Marcel Duchamp, Centre Pompidou

Essays by Duchamp

Marcel Duchamp: the creative act (1957) Audio Text

General resources

Andrew Stafford: Making Sense of Marcel Duchamp – animated explanation.

Marcel-TANT Duchamp.com Donn – Annual Review published by L'Association pour l'Etude de Marcel Duchamp.

Tout Fait: The Marcel Duchamp Studies Online Journal

MarcelDuchamp.org – Personal website dedicated to Duchamp.

MarcelDuchamp.net – Art Science Research Laboratory site about research on Duchamp.

Marcel Duchamp – Olga's Gallery pages with biography and photographs.

Marcel Duchamp Rotor Love – animated.

Marcel Duchamp (DADA Companion) – Online Research Companion.

Inventing Marcel Duchamp: The Dynamics of Poraiture – online exhibition from the National Portrait Gallery, Smithsonian Institution.

Marcel Duchamp: Cooler Than Warhol – A great multi-media presentation about the history and work of Duchamp.

profile ChessGames.com

Essays about Duchamp

Marc Dcimo: Marcel Duchamp wrong now. A propos du processus cratif (Marcel Duchamp Stripped Bare. Apropos of the Creative Act), Les Presses du rel, Dijon (France), 2004.

Marc Dcimo: The Marcel Duchamp Library, maybe (La Bibliothque Marcel Duchamp, peut-tre), Les Presses du rel, Dijon (France), 2001.

Lydie Fischer Sarazin-Levassor, A wedding in Check. The heart of the bride stripped by her Bachelor, even, Les Presses du rel, Dijon (France), 2007.

Rhonda Roland Shearer: Marcel Duchamp's Impossible Bed and Other "Not" Readymade Objects: a possible route of influence from art to science

Michael Beyer: Duchamp is Dandy!

Hilton Kramer "Duchamp & his legacy", the new criterion

Morgan Meis: "Peep Show" by Marcel Duchamp ant donne ", The Smart Set.

Audio and Video

Voices of Dada, Futurism and Dada Reviewed and Surrealism Reviewed – readings by Duchamp on the audio CDs

Www.ubu.com Words Without Borders – Music, lectures, and film

Duchamp's Legacy with Richard Hamilton and Sarat Maharaj of Tate Britain. (RealPlayer required.)

Audio of Marcel Duchamp Some texts from "A l'infinitif" (1912-1920). Recorded by Aspen Magazine (4:00) published on the Tellus Audio Cassette Magazine @ www.ubu.com Words Without Borders

Person Data

NAME

Duchamp, Marcel

Alternative Names

Duchamp, Henri-Robert-Marcel

BRIEF DESCRIPTION

Painting, sculpture, Film

DATE OF BIRTH

1887-7-28

PLACE OF BIRTH

Blainville-Crevon, France

DATE OF DEATH

1968-10-2

PLACE OF DEATH

Neuilly-sur-Seine, France

Categories: 1887 births | 1968 deaths | People from Seine-Maritime | American artists | Conceptual artists | Dada | Surrealist artists | French experimental filmmakers | French mixed-media artists | French painters | French sculptors | Modern artists | naturalized citizens of the United States | French immigrants to the United States | Artists from New York | Pataphysicians | French chess players | 20th century French writers | French chess writers | People from Greenwich Village, New York Hidden categories: All articles with Unsourced statements | Articles with Unsourced statements by August 2007 About the Author

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