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Marcel Duchamp

Life

Marcel Duchamp was born in Blainville-Crevon Seine Maritime, Haute-Normandie, France, and raised a family enjoying activities cultural. The art of the painter and engraver Emile Nicolle, his maternal grandfather, filled the whole house and the family loved 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 Puteaux, France, 1914 (Smithsonian Institution collections.)

Eugene and Lucie Duchamp seven children, one died in infancy 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 school in Rouen, Duchamp was close to his sister, Suzanne, who was an accomplice in 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 his studies at the Lycée Corneille in Rouen. Over the next 7 years was sealed in an education system focused on intellectual development. Although not an outstanding student, his favorite subject were the math and has won two awards in mathematics at school. He also won a prize drawing in 1903, and at its creation in 1904 won a coveted award, validating his recent decision to become an artist.

Learned academic drawing from a teacher who tries unsuccessfully 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, her first serious attempts have been s. drawings and watercolors that represent their sister Suzanne in various poses and activities. This was also painted landscapes in an Impressionist Style with oil.

Early works

principles of art styles of the works of Duchamp, in more post-impressionist. 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 Symbolist painter Odilon Redon, whose approach to art was not without anti-academic, but the individual in a low voice.

Studies in Art Acadm Julian from 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 designs use visual puns and / or verbal. play with words and symbols engaged his imagination to rest of his life.

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

Member since his elder brother Jacques in the work of the prestigious Royal Acadm paint and Duchamp's sculpture was exhibited at the Salon d'Automne 1908. The following year his work was exhibited at the Salon des Independants. Duchamp's pieces in the show, spokesman Guillaume Apollinaire - who would become a friendriticized called "ugly naked Duchamp." Duchamp also became lifelong friends with the exuberant artist Francis Picabia after meeting him at the Salon d'Automne 1911, Picabia and began introducing them to a mode life of fast cars and life "High".

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

During this period of fascination with Duchamp in the transition, change, motion and distance are revealed, and like many artists of the time, who was intrigued by the idea that represents a "fourth dimension" of art.

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

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

Marcel Duchamp. Nude Descending a Staircase, No. 2 (1912). Oil on canvas. 57 8.7 "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 arouse considerable controversy was Nude Descending a Staircase, No. 2 (No. 2 Nude Descending a staircase) (1912). The table shows the movement mechanics of a naked superimposed facets, similar to movies. Shows elements of both the fragmentation and synthesis of the Cubists, and movement and dynamism of the Futurists.

She first presented the piece that appears in the Cubist Salon des Indépendants, but jurist Albert Gleizes asked Duchamp brothers voluntarily withdraw the Table, or paint on the title he had painted the work and rename it to something else. brothers Duchamp approached him at the request Gleizes, Duchamp, but fell into silence. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the series and had my house painting in a taxi. It was really a point turning point in my life, I assure you. I saw that there would be very interested in the groups thereafter. "

Subsequently sent table at the "Armory Show" 1913 in New York City. The exhibition was officially named the International Exhibition of Modern Art This works by American artists, and was also the first major exhibition of modern trends emerging from Paris. Show the American public accustomed to realistic art is shocked, and was naked in the center of much controversy.

Leaving "retinal art" behind

About this time Duchamp philosophical tract read Max Stirner, The Ego and Its Own, the study of what he considered as another milestone in his artistic and intellectual development. He called it "... a remarkable book ... you any formal theory, but just keep saying that the self is always in all things. "

Duchamp took note of the stage adaptation of 1910 novel by Raymond Roussel, Impressions of Africa which included plots became themselves puns, surrealist games, and humanoid machines. He attributed the tragedy to have radically changed their approach to art, and inspired him to start creating for The Bride Stripped by Her Bachelors, Even, also known as The Large Glass.

While in Germany, in 1912, painted his last Cubist paintings, I started to "Bride Stripped Bare by Her Bachelors" image, and began making plans for the Large Glass scribbling short notes to himself, sometimes with drawings rushed. It would 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.

Later that year he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia in Jura, an adventure that Buffet-Picabia described as one of their "forays of demoralization, which were also fun raids and asylum ... the disintegration of the concept of art. "Duchamp's notes of travel to avoid logic and common sense, and connotes surreal, mythical.

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

Its wide range of interests led to an exhibition of aviation technology during this period, after Duchamp said to his friend Constantin Brancusi, "Painting is completed. Who will do better than the propeller Tell me, can you do that?" Brancusi later carved 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 at the Bibliotque St. Genevive, earn a decent wage and retired circles paint in academia. The regions studied mathematics and physics in which new discoveries were made. The theoretical writings of Henri Poincare particularly intrigued and inspired Duchamp. Poincaré postulated that the laws governing the matter seems to have been created only by the spirit that "understands" them and that the 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 own art-science experiments began during his tenure at the library. For one of his favorite tracks, 3 Standard Paros (3 stops claw) dropped three lengths of 1 meter of yarn fabrics loan, both from a height of 1 meter. The son landed in three random positions undulating. the painted stripes instead of black-blue cloth and attached to glass. Next, cut three wood slats into the shapes of the curves, and put all the pieces in a box croquet. Three small leather signs with the title printed in gold were glued to each "strike" of 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 the invention of a repertory of forms. He notes, sketches and painting studies, and even said that 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. He later denied that its creation has been decided, but it has come to be known as the first of their "ready-mades." "I enjoyed watching," he said. "As I love watching 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 has been declared in 1914, with his brothers and many friends in the military service and exempt Duchamp was uncomfortable in Paris. Decided to 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. customers Duchamp's artistic circle Louise and Walter Arensberg Conrad actress and artist Beatrice Wood and Francis Picabia, and other figures on board. Although he spoke little English, in the context of supporting himself by taking French classes and a library work, quickly learned the language.

For two years, Arensberg, who remain his friends and customers since 42 years, were the owners of their study. Instead of rent, have agreed that payment would be the Large Glass. An Art Gallery offers Duchamp $ 10,000 per year in exchange for its annual production together, but rejected Duchamp, preferring to work on the Large Glass.

Limited Company

Duchamp created the Société Anonyme in 1920, with Katherine Dreier and Man Ray. This was the beginning of his continuing involvement in the art of negotiation and collective management. The group collected modern art and exhibitions of modern art and lectures throughout the years 1930.

At that time, Walter Pach, one of the coordinators of the Armory Show 1913, requested the opinion of Duchamp on modern art. The Societe Anonyme, Dreier also depended on the lawyer of Duchamp in the library collection, as Arensberg. Later, Peggy Guggenheim Museum of Art Modern 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 severe than Europe Dada, and was not an organized society in particular. Duchamp's friend Picabia connected with the Dada group in Zurich, leading to the New York Dada ideas of absurdity and anti-art. "A group has met almost every evening Arensberg home or party in Greenwich Village. In collaboration with Man Ray, Duchamp contributed his ideas and humor to the activities of New York much of which coincided with the development of their loans to employment and the Large Glass. He also worked on the concept of "art found. "

The largest association with Dada Duchamp was the presentation of the Fountain, a urinal, the Society of Artists independent exhibition in 1917. The artworks in the exhibitions of individual artists have been selected by a jury, and any exhibits have been displayed. However, the Committee emphasizes that show the source was not art, and rejected series. This provoked an outcry among the Dadaists and led Duchamp to the Board of Independent Artists.

Henri-Pierre Roche and Beatrice Wood, Duchamp published a magazine in New York Dada, entitled Blind, include 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-mades of Marcel Duchamp

"Ready-made" found objects that Duchamp selected presented as art. The main objective of these bicycle wheels was a bicycle wheel mounted on an inverted stool, Duchamp met 1913. However, he did not invent the term "readymade" in 1915.

It is necessary to arrive at selecting an object with the idea of not being impressed by this object based on the enjoyment of any kind. However, it is difficult to select an object that is absolutely not interested, not only in selecting the day, and has no chance of becoming beautiful or attractive and not pleasing to the eye or particularly ugly. (Marcel Duchamp)

Bottle holder (1914), a bottle drying signed by Duchamp, is considered the first "pure" readymade. 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 "R. Mutt" pseudonym, shocked the art world in 1917. Source was selected in 2004 as "a work of art most influential of the 20th Century "by 500 renowned artists and historians.

In 1919, Duchamp made a parody of the Mona Lisa to decorate a good reproduction paint market with a mustache and goatee. This added the inscription, a game phonetic LHOOQ, when read aloud in French sounds quickly as "She in a dead heat." This can be translated as "She has an ass", implying that women in the painting is in a state sexual arousal and availability. You may also have been intended as a joke from Freud, referring to homosexuality presumed Leonardo da Vinci. Duchamp gave a "loose" translation of LHOOQ that "no rush to the bottom" in an interview late Arturo Schwarz.

According to Rhonda Roland Shearer, the apparent reproduction Mona Lisa is actually a copy relies heavily on clean face of Duchamp. Research published by Shearer wonders also that Duchamp himself may have created some of the items he said he was "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 the site from 1915 to 1923, with the exception of periods in Buenos Aires and Paris in 1918 to 1920. The work was executed in two sheets of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, screening studies perspectives, and laborious craftsmanship. His notes of the piece, published as the box Green, reflect the creation of special 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 donns GIVEN box Duchamp The Large Glass was thought to have been his last great work.

Kinetic works

interest Duchamp's kinetic works can already be discerned in the notes for the Large Glass and the readymade bicycle wheel, and despite the loss of interest in "retinal art" Always interested in visual phenomena.

In 1920, with the help of Man Ray, Duchamp sculpture built an engine, optical glass plates Rotary precision ("Rotary Plate, precision optics"). The piece, which does not consider art, involved a motor to spin pieces of rectangular glass on segments of a circle painted. When the device rotates, there is an optical illusion in which segments appear Concentric Circles close. (Animating Plate Rotary)

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

After moving to Paris in 1923, Andre Breton and the call by the Funding Jacques Doucet, Duchamp built another optical device based on the first - Rotary Demisphre, optical precision (Rotary Demisphere, Precision Optics). This time, the optical element has been a world reduced to half with black concentric circles painted on it. When he turns, circles appear to move back and forth in space. Duchamp asked that Doucet not display devices that art.

Rotoreliefs were the following phase Duchamp's work around. To make the optical "toys to play" painted designs on flat cardboard circles and spun on a flat phonograph. When he turns, the flat disks appeared in three dimensions. There was a printer to produce 500 units of six models, and establish a stand inventors show in 1935 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. (Rotoreliefs animated display)

In collaboration with Man Ray and Marc Allgret, Duchamp filmed early Rotoreliefs versions of the film and called Anmic MIBK (1926).

Later in the study of Alexander Calder in 1931, while watching the work kinetic sculptor, Duchamp suggested that they should be called "mobile". Calder decided to use this new term the next issue. Today, the sculptures of this type are called "mobile".

Rrose Slavy

Slavy Rrose (Marcel Duchamp). 1921. Man Ray photograph. Art Direction by Marcel Duchamp. silver. 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 game words, sounds like the French phrase "Eros, that's life", which can be translated as "Eros, that's life." It has also been interpreted as "arroz life" ("To raise a toast to life").

Slavy emerged in 1921 in a series of photographs by Man Ray, Duchamp drag performer. Through 1920, Man Ray and Duchamp collaborated on more photos of Slavy. Duchamp later used the name on the pen and signed the written material of many creations thereof. They include at least one sculpture, why not sneeze Rrose Slavy?. The sculpture, a kind of readymade common call is an oral thermometer, and buckets of dozens of small marble sugar cubes appear in a cage bird.

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 43 years. Empowered by the Morgans, they built the library collection, purchase and sale of manuscripts, books and art. [Citation needed]

The transition from the art of chess

In 1918, Duchamp took a break from the art scene in New York, the work stoppage in the Large Glass, and went to Buenos Aires, Argentina. He stayed for nine months and often play chess. Even carved their own game of chess, with the help of a local craftsman made the knights. He moved to Paris in 1919 and again in 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 see, very briefly, playing chess with Man Ray in the short Entr'acte (1924) by René Clair. He designed the poster for the third 1925 French league, and as a competitor at the event, finished fifty percent (3-3, with two draws). Thus, he earned the title of chess master. During this period his fascination with chess as distressed by his first wife that she glued his pieces on the board. Duchamp continued to play in the French championship and the Olympics 1928-1933, the promotion hypermodern openings like the Nimzo-Indian.

Sometimes, in late 1930, Duchamp reached the height of his abilities, but I realized there was little chance for recognition in the game of chess high level. In the years following his participation in chess tournaments declined but he discovered correspondence chess and became a chess journalist, writes columns for weekly newspapers. While his contemporaries have been spectacularly successful in the art world by the sale of their works to collectors of high society, Duchamp observed "I am still a victim of chess has all the beauty Art and -.. much more can not be marketed Chess is much purer than in his art. . Social position "On another occasion, Duchamp developed who are chess pieces of the alphabet block 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 theory of chess Vitaly Halberstadt to publish The opposition and other cases is idealized rconcilies are (Opposition and sister squares are reconciled), known as boxes. This treatise describes the Lasker-Reichhelm position, a Very Rare type of position that may occur during the final. Using arrays that the enneagram that fold in on themselves, they showed that in this position, black is the most can expect a lot.

The theme of the "final phase" is important for understanding attitude towards complex Duchamp's artistic career. Irish playwright Samuel Beckett was a member of Duchamp, and uses the theme as a narrative for the same work in 1957 name, "Endgame." In 1968, Duchamp played a big game of chess with artistic 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 per normal.

By choosing a career in chess Duchamp said: "If Bobby Fischer came to me for advice, I certainly not discourage - as if anyone could - but I would try positive light it will never be money from chess, live a monk-like denial and more than any other artist has done, the fight against being known and accepted. "Duchamp left a legacy for the failures in the enigmatic form of a problem compounded at the end of 1943. The problem was included in the list for gallery exhibition Julian Lev "Thanks the grand finale of the telescope, "printed on transparent paper with low enrollment: White to play and win" final great teachers and specialists have since fixed the problem, with most finals. This solution does.

Art and participation of marriages

Although Duchamp was longer considered an active artist, he continued his consultations 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 Lydie Sarazin-Lavassor, however, they divorced six months later. Noise ran 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 not bear the responsibility and confinement of marriage and soon separated.

Since the medium from 1930 he worked with the Surrealists, however, did not join the movement, despite the blandishments of André Breton. Since then and until 1944, with Max Ernst, Eugenio Granell and Breton, Duchamp edited the Surrealist periodical VVV, and was also a consulting editor for the magazine View, which presented in its March 1945, thus presenting a broad American audience.

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

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

Duchamp's interest was revived in the 1960s, and has been recognized worldwide audience. 1963 saw his first retrospective at the Pasadena Art Museum and the Tate Gallery in 1966 hosted a major exhibition of his work. Other major institutions, including the Philadelphia Museum Art and the Metropolitan Museum of Art, followed, with projections for most of the work of Duchamp. He was invited to lecture on art and participate in formal debates and sitting for interviews with major publications.

As the last survivor of the family of artist Marcel Duchamp, Duchamp in 1967 helped organize an exhibition in Rouen, France, called Les Duchamp:. Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp "Some parts of this statement of the family will again later in the National Museum of Modern Art in Paris.

Exhibition Design

Duchamp was the designer of the international exhibition of Surrealism in 1938, held at the Galerie des Beaux-Arts in Paris. The show featured more 60 artists from different countries, including about 300 paintings, objects, collages, photographs and installations.

The Surrealists wanted to create an exhibition which is itself a creative act, and asked Duchamp to do so. At the entrance of the exhibition is Dali's Rainy Taxi This work consisted a taxi rigged to produce a mist of water inside the windows, a creature with the head of shark in the driver's seat and a blonde model full of live snails in the back. This way, customers get greeted Duchamp, who were in evening dress.

Surreal Street filled one side of the lobby with mannequins dressed by various Surrealists. The main room was a simulated dark cave underground than 1,200 coal bags suspended from the ceiling. Lighting was provided by a single light bulb, so that customers flashlights were given to see the art.

Wolfgang Paalen installation consists of oak leaves and a pond of Water Lilies and rushes, and the aroma of roasted coffee filled the air. Around midnight, visitors attended the glow of a girl dancing scantily clad which rose abruptly from the reeds, jumped on the bed and cried hysterically, and then disappeared just as quickly. To the delight of the Surrealist exhibition shocked viewers.

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

Give donns, 1946-1966, technical Joint Philadelphia Museum of Art. It was after his death and permanent installation in the museum in 1969

Given Donns

Article: GIVEN donns

Duchamp's final artwork surprised the art world that believed he had abandoned art for chess 25 years ago. GIVEN Donns right: 1 The Waterfall / 2 will be gas lighting ("Given: 1 The Waterfall, 2 gas lighting .."), This is an image, visible only through a peephole in a wooden door. A Naked Woman can be seen lying on his back, his face hidden, legs apart and a hand holding a gas lamp in the air in a landscape. Duchamp worked secretly on the piece from 1946 to 1966 in his studio in Greenwich Village while even his closest friends thought he had abandoned art.

Death and burial

Marcel Duchamp died October 2, 1968 in Neuilly-sur-Seine, France and is buried in the cemetery of Rouen, Rouen, France. His grave bears the epitaph, "moreover, it Still others "Who Die" or "Furthermore, it is always others who are dying. "

Legacy

A quotation falsely attributed Duchamp suggests a negative trend in the later 20th century art:

This neo-Dada, which they call New Realism, Pop Art, Assembly, etc., is an easy solution, and lives on what Dada did. 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 urinal face as a challenge and now they admire them for their aesthetic beauty.

However, this was written in 1961 by his compatriot Hans Richter Dada, the second person, ie "you threw the bottle holder ...". Despite a marginal note in the letter suggests Duchamp has generally approved the statement, Richter not make the distinction clear that several 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, almost deserted except by the Surrealists, since Courbet, in favor of painting Retinal ... 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.

Prix Marcel Duchamp (Marcel Duchamp), established in 2000, is an annual award to a young artist Georges Pompidou Centre. In 2004, as a testament to the legacy of the art world Duchamp, its source has been voted "works of art the most influential of the 20th century by a panel of distinguished artists and art historians.

See also

Anti-art

Armory Show

History of painting

Western painting

Shock art

Selection books

Portrait of Chess Players (Portrait of Chess Players) (1911). Philadelphia Museum of Art

Nude Descending a staircase No. 2 (Nude Descending Staircase. No. 2) (1912). Philadelphia Museum of Art

Readymades of Marcel Duchamp (1915 -)

Source (1917)

LHOOQ (1919)

The Bride Stripped Bare by her Bachelors, Even (The Bare by Mary clibataires bad, even). Often called the Large Glass. (1915 to 1923). Philadelphia Museum of Art

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

Rrose Slavy (1921 -) female alter ego Duchamp "who signed some of the works and was photographed by Man Ray.

Rotoreliefs (1920) External Link

Monte Carlo Bond (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 Twentieth Century. External link

MIBK Anmic Film (1926) UbuWeb

Given: 1 The Waterfall, 2. Lighting gas. (In donns GIVEN: 1 French The Waterfall / 2 gas lighting him the note translation: ... "Donns GIVEN" translated from English into French as "Given", focusing on the current "be" but the work is known in English as Given: 1 ....) (1946-1966), Philadelphia Art Museum (Exterior) (internal view)

Courses

"Unless a crisis of image is nothing."

"The Chess can be described as the movement of pieces eating each other. "

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

"I'm still a victim chess has all the beauty of art -.. And more, it can not be marketed Chess is much purer than in its art. Social position. "

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

"I have to contradict myself in order to avoid which correspond to my taste. "

"Life is 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 him because I noticed that most artists only repeat itself. "

Notes

^ Tomkins: Duchamp: A biography.

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

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

^ "From Duchamp urinal tops poll" Art, BBC News December 1, 2004.

Marting ^ Frame (2003). "Mona Lisa: Who is behind the woman with a mustache? ". Art Science Research Laboratory. http://www.artscienceresearchlab.org/articles/panorama.htm. Accessed 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 Sylvre Lotringer

^ Brady, Frank: Bobby Fischer: Profile a prodigy Courier Dover Publications, 1989 207.

^ Beliavsky, A & Mikhalchishin, A: Batsford Winning Endgame Technique, 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 of ready-made in the post-war Contemporary Art in America "by Thomas 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 world of Marcel Duchamp, University of California Press, 1995. ISBN 0-520-20038-1

Hulten, Pontus (editor): Marcel Duchamp: Work and Life, MIT Press, 1993. ISBN 0-262-08225-X

Yves Arman, Marcel Duchamp plays and wins, Marcel Duchamp Play and Win, Marval Press, 1984

Cabanne, Pierre: Dialogs with Marcel Duchamp, Da Capo Press, Inc., 1979 (1969 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 French, Casterman, 1990) Book Award for Art International 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, the handler 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 major works Arensberg "Duchamp. (Web site)

The Israel Museum a lot of works by Duchamp in his Vera and Arturo Schwarz Collection of Dada and Surrealism. (Web site)

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

An explanation of the "Bicycle Wheel" by Duchamp (website)

Marcel Duchamp, Centre Pompidou File

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 the Association for the Study of 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 photographs.

Marcel Duchamp Rotoreliefs - animation.

Marcel Duchamp (DADA Companion) - The partner search online.

Inventing Marcel Duchamp: The Dynamics of Poraiture - exhibition line of the National Portrait Gallery, Smithsonian Institution.

Marcel Duchamp: cooler than Warhol - A beautiful multimedia presentation about the history of Duchamp and work.

View Profile ChessGames.com

Essays on Duchamp

Marc Dcim: Marcel Duchamp bad naked. About the creative process (Marcel Duchamp in the nude. One aim of the law of creation), Les Presses rel, Dijon (France), 2004.

Dcim Marc: The Library of Marcel Duchamp, perhaps (The library of Marcel Duchamp, may be), 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, Dijon (France), 2007.

Rhonda Roland Shearer: Marcel Duchamp's Impossible Bed and Other "No" prefabricated objects: a possible pathway 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 and Surrealism Reviewed Reviewed - readings by Duchamp on the audio CD

UbuWeb - Music, lectures, and the film

Duchamp's legacy Richard Hamilton and Sarat Maharaj from Tate Britain. (RealPlayer required.)

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

Persondata

NAME

Duchamp, Marcel

OTHER 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

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 | Painters French | French sculptors | Modern artists | Naturalized citizens United States | French-speaking immigrants in the United States | Artists from New York | French chess players | | pataphysicians 20th century French writers | French chess writers | People from Greenwich Village, New YorkHidden categories: All articles without source statements | Articles with no source of 08 states in 2007 About the Author

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Framed Impressionist

Anyone know the name of a painting of a tree on a cliff overlooking the sea, I think by Monet?

One of my friends used to have a Print Framed on her wall that I'm pretty sure was by Monet. It had a large tree in one corner and in the distance beneath it, you could see the sea.

I've tried Googling it, but based on the keywords 'Monet', 'tree', 'sea', the closest I get is Monet's Antibes, and that's not it.

The tree in the painting i'm thinking of was larger, and the colours were different - there were richer, darker, blues and greens.

Maybe it's by a different artist? I'm pretty sure it was one of the Impressionists, at least. Does anyone which painting I'm talking about?

Monet, The Church at Varengeville, 1882

http://www.barber.org.uk/pommonet.html

Monet, Seacoast at Trouville, 1881

http://www.mfa.org/collections/search_art.asp?recview=true&id=31804&coll_keywords=&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=37947&coll_start=11

The Art Collectors' Guild: Benefits of Membership