What Was the Main Contribution of Marcel Duchamp to the History of Art
"You cannot ascertain electricity. The same can be said of fine art. It is a kind of inner electric current in a human beingness, or something which needs no definition."
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"I don't believe in art. I believe in artist."
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"To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and infinite, seeks his way out to a immigration."
"I have forced myself to contradict myself in club to avoid conforming to my own taste."
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"The individual, human being as a man, human being every bit a brain, if you like, interests me more than than what he makes, because I've noticed that well-nigh artists only echo themselves."
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"[Fine art] is paradoxical. It is almost schizophrenic. On one side I worked from a very intellectual course of action, and on the other de-deifying everything past more materialistic thoughts."
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"When I discovered prepare-mades I idea to discourage aesthetics. In Neo-Dada they accept taken my ready-mades and found aesthetic dazzler in them. I threw the canteen-rack and the urinal into their faces as a challenge and at present they admire them for their artful beauty."
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"The idea of repeating, for me, is a form of masturbation."
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"The readymade is the consequence of the refusal which made me say: There are and so many people who make pictures with their hands, that one should end up non using the hand."
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"I am nevertheless a victim of chess. Information technology has all the beauty of fine art, and much more. It cannot be commercialized. Chess is much purer than art in its social position."
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"[Duchamp moved fine art] into a field where language, thought, and vision act upon one another."
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Summary of Marcel Duchamp
Few artists tin avowal of having inverse the course of fine art history in the way that Marcel Duchamp did. By challenging the very notion of what is art, his starting time readymades sent shock waves across the art globe that can still be felt today. Duchamp'south ongoing preoccupation with the mechanisms of desire and homo sexuality as well as his fondness for wordplay aligns his work with that of Surrealists, although he steadfastly refused to be affiliated with any specific artistic movement per se. In his insistence that art should exist driven by ideas above all, Duchamp is by and large considered to be the father of Conceptual fine art. His refusal to follow a conventional creative path, matched only by a horror of repetition which accounts for the relatively small number of works Duchamp produced in the span of his curt career, ultimately led to his withdrawal from the fine art world. In later years, Duchamp famously spent his fourth dimension playing chess, even equally he labored away in hole-and-corner at his last enigmatic masterpiece, which was simply unveiled after his death.
Accomplishments
- Coined by Duchamp, the term "readymade" came to designate mass-produced everyday objects taken out of their usual context and promoted to the status of artworks by the mere selection of the artist. A performative act as much as a stylistic category, the readymade had far-reaching implications for what can legitimately be considered an object of art.
- Duchamp rejected purely visual or what he dubbed "retinal pleasure," deeming it to be facile, in favor of more intellectual, concept-driven approaches to fine art-making and, for that matter, viewing. He remained committed, withal, to the written report of perspective and optics which underpins his experiments with kinetic devices, reflecting an ongoing concern with the representation of motion and machines common to Futurist and Surrealist artists at the time.
- A taste for jokes, tongue-in-cheek wit and subversive humor, rife with sexual innuendoes, characterizes Duchamp's work and makes for much of its enjoyment. He fashioned puns out of everyday expressions which he conveyed through visual means. The linguistic dimension of his work in particular paved the mode for Conceptual fine art.
Biography of Marcel Duchamp
The artistic inquiries of the highly innovative Cubists were not enough for Duchamp, he continued such early on experiments throughout a life that was questioning, redefining, and unorthodox - leading to fine art beyond what the earth thought possible.
Important Art by Marcel Duchamp
Progression of Art
1912
Nude Descending A Staircase
Nude Descending A Staircase initially met with an unfavorable response at the Salon des Indépendants, dominated by the Cubist avant-garde who objected to what they accounted as its Futurist leanings, only enjoyed a succes de scandale at the 1913 Armory Show in New York. More a study of the body's movement through space, the work is an early on figurative practise in painting cinematically, akin to Eadweard Muybridge's sequences of photographs that anticipated motion pictures. This painting together with the contemporaneous Passage from Virgin to Bride marks the end of Duchamp's curt-lived career as a painter.
Oil on canvas - The Philadelphia Museum of Art: Collection of Louise and Walter Arenberg
1913-14
iii Standard Stoppages
Art takes on a scientific guise in this intricate piece whose several component parts are neatly displayed alongside or slotted into a bespoke wooden instance. To make this piece, which reads similar a visual sit-in of the workings of take a chance, Duchamp dropped 3 threads, each exactly one meter long, from a acme of one meter. He then carefully recorded the random outline of the fallen thread on canvas, glass and wood. Take chances also dictated his option of title: Duchamp apparently hit upon stoppages, French for the "invisible mending" of a garment, after walking past a shop sign advertising sewing supplies.
Mixed media - The Museum of Modern Art, New York
1915-1923
The Bride Stripped Bare by Her Bachelors, Fifty-fifty, or The Large Glass
The Bride Stripped Bare by Her Bachelors, Fifty-fifty, or The Large Drinking glass was partly inspired by author Raymond Roussel'due south use of homophones, words that sound akin but have different meanings. Duchamp frequently resorted to puns and double-meanings in his work.With The Large Glass, he sought to make an artwork that could exist both visually experienced and "read" as a text. After attending a performance of Roussel'due south Impressions d'Afrique, Duchamp envisioned a sculptural assemblage as a stage of sorts. Preliminary studies for this stage, which would have been over 9 anxiety tall, included depictions of an abstracted "bride" being attacked by automobile-like figures in chaotic motion. The constructed gadgetry featured between the two glass panels was besides likely inspired past Duchamp's study of mathematician Henri Poincare's physics theorems.
Mixed media - The Philadelphia Museum of Art
1917
Fountain
The most notorious of the readymades, Fountain was submitted to the 1917 Club of Independent Artists under the pseudonym R. Mutt. The initial R stood for Richard, French slang for "moneybags" whereas Mutt referred to JL Mott Ironworks, the New York-based company, which manufactured the porcelain urinal. Subsequently the piece of work had been rejected past the Society on the grounds that information technology was immoral, critics who championed information technology disputed this merits, arguing that an object was invested with new significance when selected by an creative person for display. Testing the limits of what constitutes a work of art, Fountain staked new grounds. What started off as an elaborate prank designed to poke fun at American avant-garde art, proved to be i of most influential artworks of the 20thursday century.
Urinal - The Philadelphia Museum of Fine art
1919
50.H.O.O.Q
Marcel Duchamp's scandalous L.H.O.O.Q is an altered postcard reproduction of Leonardo Da Vinci's Mona Lisa. For this "assisted" (which implied a degree of manipulation as opposed to the "unassisted") readymade, Duchamp penciled a moustache and a goatee over Mona Lisa'south upper lip and chin, and re-titled the artwork. The title riffs on the French pronunciation of the letters, "Elle a chaud au cul," which roughly translates as "She has a hot ass." Rather than transmuting an ordinary, manufactured object into a work of art, every bit in the bulk of his readymades, in L.H.O.O.Q Duchamp starts with the representation of an iconic masterpiece that he takes down from its pedestal past playfully debunking it. In endowing the Mona Lisa with masculine attributes, he alludes to Leonardo's purported homosexuality and gestures at the androgynous nature of inventiveness. Duchamp is clearly concerned here with gender role-reversals, which subsequently come up to the fore in Man Ray's portraits of the artist dressed as his female alter ego, Rrose Selavy.
Collotype - Museum Boijmans Van Beuningen, Rotterdam
1920
Fresh Widow
This miniature model of a traditional French window was made to Duchamp's specifications past a carpenter in New York. The title, inscribed at the base of operations along with the words "COPYRIGHT ROSE SELAVY 1920," would accept been an obvious pun in the backwash of World War I, which turned many a lusty or "fresh" young spouse into a widow. (Incidentally, the work marks the debut of Duchamp'south feminine alter ego, Rose Selavy.) As if to signal mourning, the eight windowpanes are covered in black polished leather, which fully blocks out the view, thus playing havoc with the notion of painting equally a window onto the world.
Painted wood, glass, leather - Museum of Modern Art, New York
1925
Rotary Demisphere (Precision Eyes)
Duchamp'due south known aversion for what he termed "retinal fine art" did non prevent him from conducting optical experiments by means of kinetic sculptures such as this one (though he refused to consider them every bit artworks). Based on an before model Duchamp and Man Ray had experimented with in 1920, Rotary Demisphere (Precision Eyes) consists of a white papier-mache globe mounted on a velvet-lined deejay that calls to mind the rings of Saturn. The globe is covered with black concentric circles arranged to form a spiral that appears to pulsate when spinning. Engraved on a copper band around the globe's circumference, the inscription "RROSE SELAVY ET MOI ESQUIVONS LES ECCHYMOSES DES ESQUIMAUX AUX MOTS EXQUIS," ("Rrose Selavy and I dodge the Eskimos' bruises with exquisite words.") When pronounced in French, the phrase wittily conveys the hypnotic visual event verbally through a complex of echoing sounds.
Mixed media - The Museum of Modern Art, New York
1935-41
La Boite-en-Valise (Box in a Suitcase)
Similar a traveling salesman's kit, this Boite-en-Valise (Box in a Suitcase) is i of twenty-4 editions of a leather case that contains lx-nine miniature reproductions of Duchamp's artworks. Each box offered different, manus-colored art pieces affixed to the lid'south inside. Sections in the boxes slide out and unfold to evidence prints mounted on black board. This work exemplifies the lack of boundary betwixt original and reproduction that Duchamp adult with his readymades. The box also functions as a portable museum: Duchamp made it for his move to New York in 1942, and included selections of his piece of work made upwards to that appointment. La Boite-en-Valise calls to mind André Malraux's "museum without walls," not least in its employ of photographic reproductions.
Mixed media - Harvard Art Museums/Fogg Museum, Cambridge, MA, Cambridge, MA
1946-66
Etant donnes
Installed behind a heavy wooden door that was found in Spain and shipped to New York, Etant donnes consists of a diorama viewed through two eyeholes. The scene depicts a nude adult female, peradventure dead, with her legs splayed, holding an illuminated gas lamp. A mountainous mural, based on a photo Duchamp shot in Switzerland, creates the background setting. Built in secret over a flow of more than than twenty years, Etant donnes is considered Duchamp's second major work. He made an entire manual for its installation, which is reproduced in facsimile and available in print. At first glance, Etant donnes is a direct reference to Courbet's painting, Origine du Monde (1866). Notwithstanding upon closer consideration, the piece tin be viewed as a reflection on the boundaries between artist and spectator, as a ways to question self-consciousness, or every bit a meditation on spiritual purpose through the symbolism of a lit lamp.
Painted wood, latex, and fabric - The Philadelphia Museum of Fine art
1947
Priere de Toucher (Please Affect)
Priere de Toucher (Please Impact) was designed by Duchamp to back-trail the seminal 1947 International Surrealist exhibition he co-curated with André Breton. For the limited edition of the exhibition catalogue, Duchamp and the Surrealist artist Enrico Donati paw-colored 999 foam prophylactic "falsies," or false breasts, to glue onto blackness velvet which adhered to the removable book covers. This catalogue, the exhibition it was based on, and a futurity exhibition on which Duchamp and Breton collaborated withal over again, "Exposition Internationale du Surrealisme (1959-threescore)," mark Duchamp'southward thematic overlap with the Surrealists, namely an obsession with eroticism.
Book with latex breast - The Philadelphia Museum of Fine art
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Content compiled and written past The Art Story Contributors
Edited and published past The Art Story Contributors
"Marcel Duchamp Creative person Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published past The Art Story Contributors
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Kickoff published on 21 November 2011. Updated and modified regularly
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