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Marcel Duchamp

Life

Marcel Duchamp was born in Blainville-Crevon Seine Maritime in Haute-Normandie, France, and raised in a family enjoying 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, paint 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 Puteaux, France, 1914, (Smithsonian Institution collections.)

Eugene and Lucie Duchamp seven children, one died as an infant and four became on 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 his two older brothers already away from home at school in Rouen, Duchamp was near his sister Suzanne, who was a willing accomplice in the games and activities conjured from his fertile imagination. At 10 years, Duchamp followed in the footsteps of his brothers when he left home and began studies at the LYCE Corneille in Rouen. Over the next 7 years, was locked in an education system that focused on the development intellectual. Although not an outstanding student, her favorite subject was mathematics 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 prize, the validation of its recent decision to become an artist.

Learned academic drawing of a professor who unsuccessfully tried to protect his students from Impressionism, Post-Impressionism and other avant-garde influences. However, true artistic mentor Duchamp was his brother Jacques Villon, whose fluid and incisive style he sought to emulate. At 14, his first serious art attempts were drawings and watercolors that represent their sister Suzanne in various poses and activities. That summer also painted landscapes in an impressionist style with oil.

Early works

art principles Duchamp's works in addition to post-Impressionist styles. He experimented with classical techniques and subjects, as well as Cubism and Fauvism. When asked later what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not anti-academic outside, but the individual in a low voice.

Studied art at the Julian Acadmie 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold the cartoon that reflects their vulgar humor. Many of the drawings use visual puns and / or verbal. play with words and symbols engaged his imagination for rest of his life.

In 1905 he began his compulsory military service, working for a printer in Rouen. He learned the processes of typography and printing skills to use in his later work.

Member Since his older brother Jacques in the work of the prestigious Acadmie royale de peinture et de sculpture Duchamp was shown at the 1908 Salon d'Automne. The following year, his work was exhibited at the Salon of Indpendants. Duchamp's pieces in the show, critic Guillaume Apollinaire – who would become a friendriticized so called "ugly naked Duchamp." Duchamp also became lifelong friends with the 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 life "High."

In 1911, Jacques's house at Puteaux, the brothers organized a discussion group for artists and writers including Picabia, Robert Delaunay, Fernand Lger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, and Alexander Archipenko. The group became known as the Puteaux Group, and the work of artists is called Orphic Cubism. Serious interest in Cubist or its approach to visual, Duchamp did not participate in the discussions of the Cubist theory, and gained a reputation to be shy. However, the same year he painted in a Cubist style, adding an impression of movement through the use of repetitive images.

During this period of Duchamp's fascination with transition, change, movement and distance are revealed, and like many artists of the time, which was intrigued with the idea that it represents a "fourth dimension" in the art.

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

In 1911 his Portrait of Chess Players (Portrait joueurs d'Echecs) is Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but for Duchamp added elements of transport invisible mental activity of the players. (In particular, "CHEC" 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

Duchamp's early work to cause significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant escalier n 2) (1912). The painting depicts the mechanical movement of a nude with superimposed faces, similar to movies. Shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists.

It first introduced the piece that appears in the Salon des Indpendants cubist, but jurist Albert Gleizes asked Duchamp brothers to voluntarily withdraw the the picture, or to paint over the title he had painted the work and rename it to something else. Duchamp brothers approached him with the request Gleizes, Duchamp, but declined in silence. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the series and took my painting home in a taxi. It was really a turning point in my life, I assure you. I saw that there would be very interested in groups after that. "

Later, he sent the painting the 1913 "Armory Show" in New York City. The exhibition was officially named the International Exhibition of Modern Art, features works by American artists, and was also the first major exhibition of modern trends coming out of Paris. America show the audience, accustomed to realistic art, were scandalized, and naked was at the center of much controversy.

Leaving "retinal art" behind

At about this time, read the way Duchamp philosophical Max Stirner, The Ego and its Own, the study of what he considered another turning point in his artistic and intellectual development. Called that "… a remarkable book … you go any formal theory, but just keep saying that the ego is always in everything."

Duchamp also noted of the stage adaptation of 1910 novel by Raymond Roussel, Impressions of Africa that included the parcels became themselves, play word games, surreal and humanoid machines. He attributed the tragedy to have radically changed their approach to art, and inspired him to begin creating his The Bride Stripped 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 "put bride Stripped Bare by Her Bachelors "image, and began making plans for the Large Glass scribbling short notes to himself, sometimes hasty drawings. It would be 10 years before this piece was completed. Little else is known about the two-month stay in Germany, unless the friend who visited was the intention of showing the locations interest and nightlife.

Later that year he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains, a Buffet-Picabia adventure described as one of their "forays of demoralization, which were also raids asylum joke and the disintegration of the concept … of art. "Duchamp notes the trip avoid logic and sense, and have a connotation surreal, mythical.

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

Its large interests led him to an exhibition of aviation technology during this period, after Duchamp said to his friend Constantin Brancusi, "Painting is finish. Who will do better than the propeller? Tell me, can you do that? "Brancusi later sculpted figures of birds, the U.S. Customs officials mistook for aviation parts and for those who attempted to collect import duties.

During this decade Duchamp began working as a librarian Bibliotque in Sainte-Genevive, earning a living wage and withdrew from painting circles in academia. He studied mathematics and physics in which exciting new discoveries were taking place. The theoretical writings of Henri Poincaré particularly intrigued and inspired Duchamp. Poincaré postulated that laws that govern matter thought to have been created solely by the mind that "understands" them and that no theory could be considered "true." "Things in themselves are not what science can reach … but only the relationships between them. Out of these relationships is not knowable reality," Poincaré wrote in 1902.

Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces, 3 Standard Paros (3 claw stops), dropped three lengths of 1 meter of yarn fabrics prepared, one at a time, from a height of 1 meter. The wires landed in three random undulating positions. Painted them into strips instead of blue-black cloth and attached to glass. Then cut three wood slats into the shapes of curved lines, and put all the pieces in a box croquet. Three small leather signs with the title printed in gold were glued to each of the "strike" the funds. The piece seems to literally School Poincare 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 mounted a bicycle wheel upside down on a stool, turning from time to time just to see it. He later denied that its creation was decided, although it has come to be known as the first of their "ready-made." "I enjoyed looking at it," he said. "As I like to watch the flames in the fireplace."

Meanwhile, Naked Descending a Staircase No. 2 U.S. shocked at the Armory Show, and the sale of four of his paintings in the program 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 service and exempt, Duchamp was uncomfortable in Paris. Decided emigrate to the United States after neutrality. To his surprise, discovered she was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and Man Ray, artist. Duchamp's art circle clients included Louise and Walter Conrad Arensberg, actress and artist Beatrice Wood and Francis Picabia, and other figures edge. Although he spoke little English, in the course of supporting himself by taking French classes and a library work, quickly learned the language.

For two years the Arensberg, which would remain his friends and clients for 42 years, were the landlords of their study. Instead of rent, were agreed that payment would be The Large Glass. An art gallery of Duchamp offers $ 10,000 per year in exchange for its entire annual production, but rejected Duchamp offer, preferring to work on The Large Glass.

Société Anonyme

Duchamp created the Société 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 collected modern art works, and organized exhibitions of modern art and conferences throughout the 1930's.

By this time Walter Pach, one of the coordinators of the Armory Show 1913, sought Duchamp's advice on modern art. From Societe Anonyme, Dreier also depended on a lawyer of Duchamp in the library collection, as Arensberg. Later, Peggy Guggenheim Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows.

Given

Source, 1917

New York Dada had a less serious tone than Europe Dada, and was not an organized company in particular. Duchamp's friend Picabia connected with the Dada group in Zürich, leading to New York the Dada ideas of absurdity and "anti-art." A group met almost nightly 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 which coincided 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 the presentation of the Fountain, a urinal, the Society of Independent Artists exhibition in 1917. Works of art in the Independent Artists shows were not selected by a jury, and all pieces submitted were displayed. However, the committee stressed that show the source was not art, and rejected the series. This caused an uproar among the Dadaists and led Duchamp to give the board of the Independent Artists.

Along with Henri-Pierre Roche and Beatrice Wood, Duchamp published a magazine in New York Dada, entitled The blind, included art, literature, humor and commentary.

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

Readymades

Bicycle Wheel by Marcel Duchamp (1913)

Main article: Ready-made by Marcel Duchamp

"Ready-made" found objects that Duchamp selected and presented as art. The primary objective of these was wheeled bicycle, a bicycle wheel mounted inverted on a stool, Duchamp met in 1913. However, he did not coin the term "readymade" in 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 kind. However, it is difficult to select an object that is absolutely not interested, not just the day in select, and has no chance to become attractive or beautiful and that is not pleasing to the eye or particularly ugly. (Marcel Duchamp)

Bottle Rack (1914), a drying bottle signed by Duchamp, is considered the first "pure" ready-made. Prelude to a broken arm (1915), a snow shovel, also called Advance of the Broken Arm, followed shortly thereafter. His 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 20 th century" by 500 renowned artists and historians.

In 1919, Duchamp made a parody of the Mona Lisa to decorate a cheap reproduction of the painting with a mustache and goatee. This added the inscription LHOOQ, a phonetic play, when read in French aloud quickly sounds like "Elle a chaud au cul." This can be translated as "She has a hot ass," which implies that women in the painting is in a state of sexual excitement and availability. You may also have been intended as a joke in Freud, referring to alleged homosexuality Leonardo da Vinci. Duchamp gave a "loose" translation of LHOOQ as "not the fire from below" in an interview late Arturo Schwarz.

According to Rhonda Roland Shearer, the apparent reproduction Mona Lisa is actually a copy based largely on Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the items that he says have been "found."

The Large Glass

Main article: The Large Glass

The Large Glass (from 1915 to 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. The work was executed in two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, tracing studies perspectives, and laborious craftsmanship. His notes of the piece, published as The Green Box, reflect the creation of unique rules of physics, and mythology describes the work. He stated that his "funny picture" is to describe the erratic encounter between a bride and her bachelors nine.

Until 1969, when Philadelphia Museum of Art revealed donnés box donns Duchamp, The Large Glass was thought to have been his last great work.

Kinetic works

interest Duchamp's kinetic works can be discerned already in the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art" remained interested in the visual phenomena.

In 1920, with the help of Man Ray, Duchamp sculpture built a motor, Rotary verre plates of prcision optique ("Rotary Glass Plates, precision optics"). The piece, which do not consider art, involved a motor to spin pieces of rectangular glass on which segments of a circle painted. When the device rotates, there is an optical illusion, in which segments appear close concentric circles. (Animation of the glass plates of Rotary)

Man Ray set up equipment to photograph the initial experiment, but when he returned the machine for the second time, a belt broke, and took a piece of glass, which after looking at Man Ray's head, broke into pieces.

After moving to Paris in 1923, André Breton and calling through the financing 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 on it. When it rotates, circles appear to move backwards and forwards in space. Duchamp asked that Doucet not display apparatus as art.

Rotoreliefs were as follows phase of the works of Duchamp turn. To make the optical "toys to play" painted designs on flat cardboard circles and spun on a phonograph dish. When it rotates, the flat disks appeared in three dimensions. There was a printer to produce 500 sets of six designs, and establish a stand in 1935 show inventors Paris for sale. The company was a financial disaster, but some optical scientists thought they might be useful in restoring stereoscopic view three-dimensional 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 film Anmic MIBC (1926).

Later in the study of Alexander Calder in 1931, while watching the work of kinetic sculptor, Duchamp proposed that these should be called "mobile." Calder agreed to use this new term at the next show. Today, the sculptures of this type are called "mobiles."

Rrose Slavy

Rrose Slavy (Marcel Duchamp). 1921. Photography 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 written 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 "arroz la vie" ("To make a toast to life").

Slavy emerged in 1921 in a series of photographs by Man Ray, Duchamp in drag shows. Through 1920's 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 thereof. These include at least one sculpture, why not sneeze Rrose Slavy?. The sculpture, a kind of ready-made joint appeal, is an oral thermometer, and buckets of dozens of small marble sugar cubes appear in a bird cage.

The inspiration for "Slavy Rrose" the name may have been Belle da Costa Greene, librarian to JP Morgan Pierpont Morgan Library. After the death of JP Morgan, Sr., Greene became Director of the Library where he worked for a total of forty-three years. Empowered by the Morgans, they built the library collection, purchase and sale of manuscripts, books and art. [Citation required]

The transition from the art of chess

In 1918, Duchamp took a break in the New York art scene, stopping work in the Large Glass, and went to Buenos Aires, Argentina. He stayed for nine months and often play chess. Even wood carved their 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, not an artist of practice. Instead, he played chess, 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 Entr'acte (1924) by René Clair. He designed the poster for the 1925 French Championship Third, and as a competitor at the event, finished a fifty percent (3-3, with two draws). Thus he earned the title of chess master. During this period his fascination afflicted with chess as his first wife that she glued his pieces on the board. Duchamp continued to play in the French Championship and the Olympics from 1928-1933, promoting hypermodern openings like the Nimzo-Indian.

Sometime in late 1930, Duchamp came to the height of his ability, but realized that there was little chance to gain recognition in the high-level chess. In the following years, his participation in chess tournaments declined 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 their works to collectors of high society, Duchamp observed "I am still a victim of chess has all the beauty of art and much more -.. can not be marketed Chess is much purer than art in her. . Social position "On another occasion, Duchamp developed, which chess pieces are the block alphabet shapes the thoughts and these thoughts, although making a visual design on the chessboard, express their beauty abstractly, like a poem … He concluded staff, while all artists are not chess players, all chess players are artists.

In 1932 Duchamp teamed up with the chess theory Vitaly Halberstadt to publish L'opposition and other cases is idealized 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 enneagram that fold back on themselves, They showed that in this position, Black is most can expect a draw.

The theme of the "final phase" is important for understanding of Duchamp's complex attitude towards his artistic career. Irish playwright Samuel Beckett was an associate of Duchamp, and uses the theme as a narrative for the work of 1957 of the same name, "Endgame." In 1968, Duchamp played an important artistic game of chess with avant-garde composer John Cage, in a concert entitled "The Meeting ". The music was produced by a series of photoelectric cells underneath the chessboard, sporadically triggered by the normal.

In choosing a career in chess, Duchamp said: "If Bobby Fischer came to me for advice, I certainly do not discourage – as if anyone could – but I would like try it positively clear that he will never have money from chess, live a monk-like denial and know more than any other artist has done, fighting to be known and accepted. "Duchamp left a legacy for chess in the form of an enigmatic problem composed in late 1943. The problem was included in the listing for Gallery exhibition Julian Lev "Through the grand finale of the Opera Glass", printed on transparent paper with faint inscription: " White to play and win "Great Teachers and specialists finals since then have dealt with the problem, with most finals. That no solution.

Artistic and participation of marriages

Although Duchamp was no longer considered an active artist, he continued to consult with artists, 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 Lydia-Lavassor Sarazin, however, they divorced six months later. It was rumored that Duchamp had chosen a marriage of convenience, because Sarazin-Lavassor 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 soon separated.

Since mid from 1930 onwards, he collaborated with the Surrealists, however, did not join the movement despite the blandishments of 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 presented in its March 1945, thus introducing him to a vast American audience.

In 1954, he and Alexina "Teeny" Sattler married and remained together until his death. Duchamp became a United States citizen in 1955.

His influence on the art world remained behind the scenes to late 1950, when he was "discovered" by young artists like Robert Rauschenberg and Jasper Johns, who were anxious to escape the dominance of expressionism abstract.

Duchamp Interest was revived in the 1960, and was recognized worldwide audience. 1963 saw his first retrospective exhibition at the Pasadena Art Museum and the Tate Gallery in 1966 hosted a large exhibition of his work. Other major institutions, including the Philadelphia Art Museum and the Metropolitan Museum Art, followed, with projections for much of the work of Duchamp. He was invited to lecture on art and participate in formal debates and sitting for the 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." Parts of this statement of the family will be later again in the Muse National d'Art Moderne in Paris.

Design Exhibition

Duchamp was the designer of the International Exhibition 1938 surreal, held in the Galerie des Beaux-Arts in Paris. The show featured more than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs and installations.

The Surrealists wanted to create an exhibition which in itself is a creative act, and asked Duchamp to do so. At the entrance of the exhibition made Salvador Dali's Rainy Taxi This work consisted of a taxi rigged to produce a mist of water inside the windows, a shark-headed creature in the driver's seat and a blond mannequin full of live snails in the back. In this way, customers get greeted Duchamp, who were in full 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 provided only by a single light bulb, so that customers were given flashlights to view the art.

Wolfgang Paalen installation consists of oak leaves and a pond filled with water lilies and rushes, and the aroma of roasted coffee filled the air. Around midnight, visitors witnessed the dancing glow of a scantily clad girl who suddenly rose from the reeds, jumped on the bed, cried hysterically, and then disappeared just as quickly. To the great satisfaction of the exposure surreal shocked viewers.

In 1942, for the first show documents of Surrealism in New York, Surrealists again called on Duchamp to design the exhibition. This time he wove a three-dimensional network of chain along the halls of the space, in some cases, making it almost impossible to see the works. Duchamp made a secret deal with the son of a partner to bring young friends to the opening of the exhibition. When the well-dressed guests arrived, they found a dozen children in sport clothes kicking and passing balls, and jump rope. Duchamp designed the catalog for the exhibition were "found", instead of posed photographs of the artists.

Donnes donns, 1946-1966, mixed media, Philadelphia Museum of Art. This was after his death and permanent installation in the museum in 1969

Donns Donnés

Main article: donns donnés

Duchamp's final artwork more surprised the art world that believed he had abandoned art for chess 25 years previously. Donns right donnés: 1 La Chute d'eau / 2 will gaz d'clairage ("Given: 1 The Waterfall, 2 gas lighting .."), It is a picture, visible only through a peephole in a wooden door. A naked woman can be seen lying on her back with his face hidden, her legs open and a hand holding a gas lamp in the air against a backdrop of the landscape. Duchamp worked secretly on the piece from 1946 to 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 " In addition, it is always other people who die. "

Legacy

A quotation incorrectly attributed to Duchamp suggests a negative attitude trends later in the 20 century art:

This neo-Dada, which they call New Realism, Pop Art, Assembly, etc, is an easy way out, and lives on what Dada made. When I discovered ready-mades I tried 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 in the face as a challenge and now they admire them for their aesthetic beauty.

However, this was written in 1961 by fellow Dadaist Hans Richter, the second person, ie "You threw the bottle rack …". Despite a marginal note in the letter suggests that Duchamp generally approved of the statement, Richter 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 retinal painting … If you take a Campbell soup can and repeat 50 times, you are not interested in the retinal image. What matters is the concept you want to put 50 Campbell soup cans on canvas.

Award Marcel Duchamp (Marcel Duchamp Prize), established in 2000, is an annual award given to a young artist Georges Pompidou Center. In 2004, as a testament to the legacy of Duchamp's art world, its source was voted "most influential artwork of the 20th century by a panel of prominent artists and historians art.

See also

Anti-art

Armory Show

History of painting

Western painting

Shock art

Selected Works

Portrait of Chess Players (Portrait joueurs d'Echecs) (1911). Philadelphia Museum of Art

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

Ready-mades of Marcel Duchamp (1915 -)

Source (1917)

LHOOQ (1919)

The Bride Stripped Bare by Her Bachelors, Even (The Marie Bare by bad clibataires, mme). Often called the Large Glass. (1,915 to 1923). Philadelphia Museum of Art

The Green Box. Notes and studies of The Bride Stripped by Her Bachelors, Even. (1915-1923) Philadelphia Museum of Art

Rrose Slavy (1921 -) Duchamp's female alter ego "who signed some of the 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 as a lithograph in 1938 for Paris art magazine XXe Siècle. External link

MIBC Anmic Film (1926) UbuWeb

Given: 1 The Waterfall, 2. The Illuminating Gas. (In French: donns donnés: 1 La Chute d'eau / 2 gas d'clairage him Translation note: … "Donns donnés" translates from French to English as "Being given", with emphasis on the existing "being" but the work is known in English as Given: 1 ….) (1946-1966), Philadelphia Museum of Art (external view) (internal view)

Quotes

"Unless an image crisis, it's nothing."

"The 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. Position social. "

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

"I have to contradict myself in order to avoid that fit my taste. "

"Living is more a matter of what one spends than what one does."

"The individual man as a man, man as a brain, if you like, interests me more than he does, because I've noticed that most artists only repeat themselves. "

Notes

^ Tomkins: Duchamp: A biography.

^ Marcel Duchamp, from Session in the creative act, the Convention of the American Federation of Arts, Houston, Texas, April 1957.

^ Tomkins: Duchamp: A Biography, pages 181-186.

^ "Duchamp's urinal tops poll art ", BBC news Dec. 1, 2004.

Marting ^ Frame (2003). "Mona Lisa: Who is behind the woman with the mustache?". Art Science 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 a prodigy, Courier Dover Publications, 1989 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 Sélavy, 1887-1968. Pages 8-9 June (1927) to January 25 (1928). ISBN 0-262-08225-X.

^ "(Ab) use of Marcel Duchamp: The Concept of the Readymade in Post-War Contemporary Art in America" by Girst Thomas 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 world 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: Duchamp plays and wins, of 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 Your Canning by Bonnie Jean Garner (with text boxes by Stephen Jay Gould)

Gibson, Michael: Duchamp, Dada, (in French, Nouvelles Editions Française, Casterman, 1990) Art International Book Award in 1991 Vasari Award.

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 Gravit, Ed CNDP, Paris, 1998

External Links

Wikimedia Commons has media on Marcel Duchamp

Duchamp works

Philadelphia Museum of Art houses a collection of Arensberg 'great work of Duchamp. (Website)

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

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

An explanation of the "Roue de bicyclette" Duchamp (website)

Marcel Duchamp, Centre Pompidou Dossier

Duchamp tests

Marcel Duchamp: the creative act (1957) Audio Text

General Resources

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

Important Duchamp.com Marcel Donn – annual review published by L'Association pour l'Etude de Marcel Duchamp.

Toutfait: Marcel Duchamp Studies Online Journal

MarcelDuchamp.org – Personal page dedicated to Duchamp.

MarcelDuchamp.net – Arts Science Research Laboratory site on the investigation of Duchamp.

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

Marcel Duchamp Rotoreliefs – animated.

Marcel Duchamp (DADA Companion) – the research partner online.

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

Marcel Duchamp: cooler than Warhol – A great presentation multimedia 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 in the nude. A purpose of the law of creation), Les Presses du rel, Dijon (France), 2004.

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

Lydie Fischer Sarazin-Levassor, A marriage on the check. The heart of the Bride Stripped of his title, even their press rel du, Dijon (France), 2007.

Rhonda Roland Shearer: Marcel Duchamp's Impossible Bed and Other "no" prefabricated objects: a possible route of influence from art to science

Michael Beyer: Duchamp is Dandy!

Hilton Kramer: "Duchamp and his legacy," the new criterion

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 Richard Hamilton and Sarat Maharaj from Tate Britain. (RealPlayer required.)

Audio of Marcel Duchamp Some texts from "A l'infinitif" (1912-1920). Recorded by Aspen Magazine (4:00), published in the journal Tellus Audio Cassette @ UbuWeb

Persondata

NAME

Duchamp, Marcel

ALTERNATIVE NAMES

Duchamp, Henri-Robert-Marcel

BRIEF DESCRIPTION

Painting, Sculpture, Film

DATE OF BIRTH

1887-7-28

PLACE OF BIRTH

Crevon Blainville, France

DATE OF DEATH

1968-10-2

PLACE OF DEATH

France Neuilly-sur-Seine,

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 United States | French immigrants to the United States | New York artists | Pataphysicians | French chess players | 20th century French writers | French chess writers | People from Greenwich Village, New YorkHidden categories: All articles with no source statements | Articles with no source of 08 statements 2007
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