home
Sports and fitness
Marcel Duchamp paintings with titles. Scandalous and famous Marcel Duchamp

Marcel Duchamp paintings with titles. Scandalous and famous Marcel Duchamp

23.03.2019

USA

Childhood

The family had seven children, one of whom died shortly after birth. Of the children, four became famous artists: Marcel, Jacques Villon (Gaston Duchamp, 1875-1963) and Raymond Duchamp-Villon (1876-1916) (older brothers), as well as his sister Suzanne Duchamp-Crotti (1889-1963).

Love and interest in art in the family were due to maternal grandfather - Emile Nicolas, former artist and engraver. The whole house was filled with his work. The father of the family gave the children freedom in the matter of choosing a profession, without insisting on continuing their business. Duchamp, like his older brothers, studied at the Lyceum in Rouen from the age of 10 to 17. He was not an outstanding student, but he did well in math, winning math several times. school competitions. In 1903 he also won an art competition.

At the age of 14, he began to take a serious interest in drawing. From this time, his portraits of his sister Susanna have been preserved. Duchamp's first paintings (landscapes of the surroundings in the spirit of impressionism, drawings) belong to. In he came to Paris, settled in Montmartre, tried to study at the Académie Julian, dropped out. Duchamp's painting during this period was not independent, close either to Cezanne or to the fauvism of Matisse. His works end up at the Autumn Salon, and Guillaume Apollinaire responds to them in his review.

Chess

Duchamp was a good chess player. He completed the title of master at the Third French Chess Championship in 1923, scoring 4 points out of 8. He played for the French team at the international chess Olympiads of 1928-1933, playing in the hypermodern style, resorting, for example, to the Nimzowitsch defense in the opening. The French team of those years usually took places in the middle of the final table.

In the early 1930s he reached his peak as a player. Participated in chess by correspondence, was a chess journalist - led a column in a magazine. Author of a number of chess problems.

Cubism

Through his brothers Jacques Villon and Rémond Duchamp-Villon, Marcel Duchamp was introduced to Cubism. He joined the De Puteaux group, which included such artists as Gleuz, Metzinger.

Creativity and recognition

Then, in the -s, Duchamp turned to a radical avant-garde search (“Nude descending the stairs”,; “The bride, undressed by her bachelors, one in two persons”, -), which brought him closer to Dadaism and surrealism. At the same time, he defiantly eschewed the role of an artist, a professional, and even painting in the traditional sense of the word was becoming less and less common, practicing the shocking public method of “ready-made things” (ready-made), which makes only the will and signature of the author, the context of the exhibition or museum an artistic object. (“Bicycle wheel”,; “Bottle dryer”,; “Fountain”,). Such an object can also be the works of old masters parodied as examples of "high art" - for example, "La Gioconda" by Leonardo da Vinci ("L.H.O.O.Q.", ), Duchamp's production of these years, extremely few and always bearing a provocative-playful character up to the invention of imaginary authors (the most famous of these alter egos is the so-called Rosa Selyavi), was constantly accompanied by absurdly detailed analytical notes by the author. In the 20s, Marcel Duchamp actively participated in the collective actions of the Dada group and the surrealists, published in magazines and almanacs of the Dadaists and participated in the filming of several films. The most famous of them was René Clair's film Intermission (1924) to the music of his friend, avant-garde composer Eric Satie, which became a classic of the genre and is still popular today. Subsequently, Duchamp practically withdrew from creativity, indulging in near-scientific research and his favorite game of chess, but for several decades remained the most influential figure in the American art scene and the international avant-garde, the object of the most controversial art criticism interpretations. After living mostly in the USA, he took American citizenship.

Duchamp shot together with Man Ray the experimental film "Anemic Cinema" ( , for details see: ), a short film is dedicated to him feature film Paolo Marina Blanco (, see:). In France, the Marcel Duchamp Prize for Young Artists was established.

Photographed in the image for a bottle of toilet water " Belle Haleine"(rus. "Elena the beautiful " ).

Publications

Duchamp's writings

The Writings/Ed. by Michel Sanouillet, Elmer Peterson. Cambridge: Da Capo Press, 1973.
Duchamp du Signe/Ed. par Michel Sanouillet, Elmer Peterson. Paris: Flammarion, 1994
Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp/ Ed. by Francis M. Naumann, Hector Obalk, Jill Taylor. London: Thames & Hudson, 2000.
Thoughts on the contrary / Andre Breton. Anthology of black humor. - M.: Carte Blanche, 1999. - S. 373-376.

Literature about the artist

Romanov I."All chess players are artists." // "64 - Chess Review". - 1987. - No. 17. - S. 22-23.
Octavio Paz. The castle of purity // Art magazine. - 1998. - No. 21. - S. 15-19 (chapter from the book of the same name about M.D.).
// Space in other words: French poets XX century about the image in art. - St. Petersburg: Ivan Limbakh Publishing House, 2005. - S. 124-132.
Duve T. de. Picturesque nominalism. Marcel Duchamp, painting and modernity / Per. from fr. A. Shestakova. M.: Publishing House of the Gaidar Institute, 2012
Tomkins K. Marcel Duchamp. Afternoon conversations. M.: Grundrisse, 2014-160 p.
Tomkins C. The World of Marcel Duchamp. New York: Time, 1966.
Schwartz A. The complete works of Marcel Duchamp. New York: H.N. Abrams, 1969.
Cabanne P. Dialogues With Marcel Duchamp. New York: Viking Press, 1971.
Marcel Duchamp / Ed. by Anne D'Harnoncourt, Kynaston McShine. New York: Museum of Modern Art, 1973.
Suquet J. Miroir de la Mariee. Paris: Flammarion, 1974.
Goldfarb Marquis A. Marcel Duchamp= Eros, c'est la vie, a Biography. Troy: Whitston, 1981.
Bonk E. Marcel Duchamp, The Box in a Valise. New York: Rizzoli, 1989.
Cage J. Mirage verbal: Writings through Marcel Duchamp, Notes. Dijon, Ulysse fin de siècle, 1990.
Duve Th. de. The Definitively Unfinished Marcel Duchamp. Halifax: Nova Scotia College of Art and Design; Cambridge: MIT Press, 1991.
Marcel Duchamp: Work and Life/Ed. by Pontus Hulten a.o. Cambridge: MIT Press, 1993.
Buskirk M., Nixon M. The Duchamp Effect. Cambridge: MIT Press, 1996.
Joselit D. Infinite Regress: Marcel Duchamp 1910-1941. Cambridge: MIT Press, 1998.
Difference/indifference: musings on postmodernism, Marcel Duchamp and John Cage/ Ed. by Moira Roth M., Jonathan Katz. Amsterdam: GB Arts International, 1998.
Hopkins D. Marcel Duchamp and Max Ernst: The Bride Shared. New York: Oxford UP, 1998.
Joseph Cornell/Marcel Duchamp…Resonance/ Ed by Susan Davidson a.o. Ostfildern-Ruit: Cantz; New York: Distributed Art Publishers, 1998.
Kachur L. Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition. Cambridge: MIT Press, 2001.
Masheck J. Marcel Duchamp in Perspective. Cambridge: Da Capo Press, 2002.
Graham L. Duchamp & Androgyny: Art, Gender, and Metaphysics. Berkeley: No-Thing Press, 2003.
Moffitt J.F. Alchemist of the Avant-Garde: The Case of Marcel Duchamp. New York: State University of New York Press, 2003.
Cros C. Marcel Duchamp. London: Reaction Books, 2006.

Marcel Duchamp in modern culture

Sources

Write a review on the article "Duchamp, Marcel"

Excerpt characterizing Duchamp, Marseille

- No, dear count, you let me take care of your daughters. At least I won't be here for long. And you too. I will try to amuse yours. I heard a lot about you in St. Petersburg, and I wanted to get to know you, ”she said to Natasha with her uniformly beautiful smile. - I heard about you from my page - Drubetskoy. Did you hear he's getting married? And from a friend of my husband - Bolkonsky, Prince Andrei Bolkonsky, - she said with special emphasis, hinting that she knew his relationship with Natasha. - She asked, in order to get to know each other better, to allow one of the young ladies to sit the rest of the performance in her box, and Natasha went over to her.
In the third act, a palace was presented on the stage, in which many candles burned and paintings depicting knights with beards were hung. In the middle were probably the king and queen. The king waved right hand, and, apparently shy, sang something badly, and sat on the crimson throne. The girl, who was first in white, then in blue, was now dressed in one shirt with loose hair and stood near the throne. She sang about something sadly, turning to the queen; but the king waved his hand sternly, and men with bare legs and women with bare legs came out from the sides, and they all began to dance together. Then the violins began to play very thinly and cheerfully, one of the girls with bare thick legs and thin arms, separating from the others, went backstage, straightened her corsage, went out to the middle and began to jump and soon beat one foot against the other. Everyone in the stalls clapped their hands and shouted bravo. Then one man stood in a corner. In the orchestra, cymbals and trumpets began to play louder, and this one man with bare legs began to jump very high and mince his legs. (This man was Duport, who received 60,000 a year for this art.) Everyone in the stalls, in the boxes and in the rayka began to clap and shout with all their might, and the man stopped and began to smile and bow in all directions. Then others danced, with bare legs, men and women, then again one of the kings shouted something to the music, and everyone began to sing. But suddenly there was a storm, they heard in the orchestra chromatic scales and chords of a diminished seventh, and everyone ran and dragged again one of those present backstage, and the curtain fell. Again a terrible noise and crackling arose between the spectators, and everyone, with enthusiastic faces, began to shout: Duport! Duport! Duport! Natasha no longer found this strange. She looked around with pleasure, smiling happily.
- N "est ce pas qu" il est admirable - Duport? [Isn't it true that Duport is delightful?] - said Helen, turning to her.
- Oh, oui, [Oh, yes,] - Natasha answered.

During the intermission, there was a smell of cold in Helen's box, the door opened and, bending down and trying not to catch anyone, Anatole entered.
“Let me introduce my brother to you,” Helen said, uneasily shifting her eyes from Natasha to Anatole. Natasha turned her pretty head over her bare shoulder to the handsome man and smiled. Anatole, who was as good up close as he was from afar, sat down next to her and said that he had long wanted to have this pleasure, ever since the Naryshkin ball, at which he had had the pleasure, which he had not forgotten, to see her. Kuragin with women was much smarter and simpler than in male society. He spoke boldly and simply, and Natasha was strangely and pleasantly struck by the fact that not only was there nothing so terrible in this man, about whom so much was said, but that, on the contrary, he had the most naive, cheerful and good-natured smile.
Kuragin asked about the impression of the performance and told her about how Semyonova, playing in the last performance, fell.
“Do you know, Countess,” he said, suddenly addressing her as if he were an old acquaintance, “we are having a carousel in costumes; you should participate in it: it will be very fun. Everyone gathers at the Karagins. Please come, right, eh? he said.
Saying this, he did not take his smiling eyes off his face, from his neck, from Natasha's bare hands. Natasha undoubtedly knew that he admired her. It was pleasant for her, but for some reason it became cramped and hard for her from his presence. When she did not look at him, she felt that he was looking at her shoulders, and she involuntarily intercepted his gaze so that he would better look at her eyes. But, looking into his eyes, she felt with fear that between him and her there was not at all that barrier of shame that she always felt between herself and other men. She herself, not knowing how, after five minutes felt terribly close to this man. When she turned away, she was afraid that he would take her bare hand from behind, kiss her on the neck. They talked about the most simple things and she felt that they were close, as she had never been with a man. Natasha looked back at Helen and at her father, as if asking them what it meant; but Helen was occupied with a conversation with some general and did not return her glance, and her father's glance told her nothing, only that he always said: "fun, well, I'm glad."
In one of the minutes awkward silence, during which Anatole calmly and stubbornly looked at her with his bulging eyes, Natasha, in order to break this silence, asked him how he liked Moscow. Natasha asked and blushed. It constantly seemed to her that she was doing something indecent when talking to him. Anatole smiled, as if encouraging her.
– At first I didn’t like it much, because what makes a city pleasant is ce sont les jolies femmes, [pretty women,] isn’t it? Well, now I like it very much,” he said, looking at her significantly. “Are you going to the carousel, Countess?” Go," he said, and reaching out to her bouquet, lowering his voice, he said, "Vous serez la plus jolie." Venez, chere comtesse, et comme gage donnez moi cette fleur. [You will be the prettiest. Go, dear countess, and give me this flower as a pledge.]
Natasha did not understand what he said, just like he himself, but she felt that there was indecent intent in his incomprehensible words. She didn't know what to say and turned away as if she hadn't heard what he said. But as soon as she turned away, she thought that he was behind her so close to her.
“What is he now? Is he confused? Angry? Need to fix this?" she asked herself. She couldn't help but look back. She looked him straight in the eyes, and his intimacy and confidence, and the good-natured tenderness of his smile won her over. She smiled exactly as he did, looking straight into his eyes. And again she felt with horror that there was no barrier between him and her.
The curtain went up again. Anatole left the box, calm and cheerful. Natasha returned to her father in the box, already completely subordinate to the world in which she was. Everything that happened before her already seemed quite natural to her; but for that all her former thoughts about the groom, about Princess Marya, about village life never once crossed her mind, as if it had all been long, long gone.
In the fourth act there was some kind of devil who sang, waving his hand until the boards were pulled out under him, and he sank down there. Natasha only saw this from the fourth act: something worried and tormented her, and the cause of this excitement was Kuragin, whom she involuntarily followed with her eyes. As they left the theatre, Anatole approached them, called their carriage, and helped them up. As he lifted Natasha up, he shook her hand above the elbow. Natasha, excited and red, looked back at him. He, shining with his eyes and gently smiling, looked at her.

Only when she arrived home, Natasha could clearly think over everything that had happened to her, and suddenly remembering Prince Andrei, she was horrified, and in front of everyone for tea, for which everyone sat down after the theater, she gasped loudly and flushed out of the room. - "My God! I died! she said to herself. How could I let this happen?" she thought. For a long time she sat covering her flushed face with her hands, trying to give herself a clear account of what had happened to her, and could neither understand what had happened to her, nor what she felt. Everything seemed to her dark, indistinct and frightening. There, in this huge, illuminated hall, where Duport jumped on wet boards to the music with bare legs in a jacket with sequins, both girls and old men, and Helen, naked with a calm and proud smile, shouted bravo in delight - there, under the shadow of this Helen , there it was all clear and simple; but now alone, with herself, it was incomprehensible. - "What it is? What is this fear that I felt for him? What is this pangs of conscience that I feel now? she thought.
To one old countess, Natasha would be able to tell everything that she thought in bed at night. Sonya, she knew, with her stern and solid look, either would not have understood anything, or would have been horrified by her confession. Natasha, alone with herself, tried to resolve what tormented her.
“Did I die for the love of Prince Andrei or not? she asked herself, and answered herself with a reassuring smile: What kind of fool am I that I ask this? What happened to me? Nothing. I didn't do anything, I didn't cause it. No one will know, and I will never see him again, she told herself. It became clear that nothing had happened, that there was nothing to repent of, that Prince Andrei could love me like this. But what kind? Oh my God, my God! why isn't he here?" Natasha calmed down for a moment, but then again some instinct told her that although all this was true and although there was nothing, instinct told her that all her former purity of love for Prince Andrei had perished. And she again in her imagination repeated her entire conversation with Kuragin and imagined the face, gestures and gentle smile of this handsome and courageous man, while he shook her hand.

DUCHAMP (Duchamp) Marseille (Henri Robert Marcel) (28.7.1887, Blainville-Crévon, Seine-Maritime Department - 2.10.1968, Neuilly-sur-Seine), French artist. He began painting in 1902 (Blainville Chapel, Museum of Art, Philadelphia). In 1904 he arrived in Paris, where he studied at the R. Julian Academy. In his early works, he mastered the techniques of post-impressionism, fauvism and painting of the Nabis group (Red House in the Apple Orchard, 1908, private collection, New York, etc.). In 1911, together with his brothers R. Duchamp Villon and the painter Jacques Villon (Gaston Duchamp; 1875-1963), he formed the Puteaux group, which formed the core of Montparnasse Cubism, which declared itself in 1912 at the Golden Section exhibition. Through the crushing of forms, the overlapping of small faces and planes, Duchamp sought to convey movement, which brings his painting of the early 1910s closer to the search for futurism. The doubling, overlapping volumes capture, as in chronophotography, the different phases of the movement of the figure (“A sad young man on a train”, 1911-12, P. Guggenheim Collection, Venice; “Nude descending stairs No. 2”, 1912, Museum Arts, Philadelphia).

Since 1913, Duchamp, disillusioned with painting, showed his first “finished objects” at exhibitions - ready-made: “Bicycle wheel on a stool” (1913), “Bottle dryer” (1914, Museum contemporary art, New York), the infamous "Fountain" (under this name a urinal was exhibited in 1917), "L. N. O. O. Q ”(“ Mona Lisa with a Mustache ”, circa 1919, National Museum of Modern Art, Paris; see illustration for the article Dadaism) and others. They marked the beginning of the Dadaist period in the artist’s work. In 1915 he arrived in New York, where, together with F. Picabia and Man Ray, he founded a group whose activities prepared artistic movement Dadaism. Turning (since 1913) to painting on glass, he created a large-format composition "Large Glass: The Newlywed, Undressing Her Bachelors" (1915-1923, not preserved; author's reconstructions - 1936, Museum of Art. Philadelphia, and 1961, Museum of Modern Art, Stockholm ), symbolizing the circulation of instinctive desires and flows of the subconscious.

In 1923, Duchamp announced his rejection of artistic creativity, however, from time to time he performed with provocative manifestations of "anti-art". In 1935-41 he created a kind of portable museum: miniature replicas and reproductions own works, laid out in boxes packed in a suitcase (National Museum of Modern Art, Paris). After Duchamp's death, another of his creations was discovered - "Data: 1) a waterfall, 2) a gas lamp" (1946-66, Museum of Art, Philadelphia). This installation with a defiantly erotic female figure, prostrate with a lamp in her hand against the backdrop of a strange landscape, can only be seen through the gap of a dilapidated door that tightly overlaps the mysterious scene.

At the end of his life, Duchamp gained fame as a pioneer and became the idol of a new generation of avant-garde, who resumed the experimental search for Dadaism. His work entered the prehistory of such trends as on-art, non-art, kinetic art, minimalism, concept art. Duchamp's sister is the painter Suzanne Duchamp-Crotti (1889-1963), the wife of the painter Jean Crotti (Crotti; 1878-1958).

Cit.: Dialogues with M. Duchamp. L., 1971; The essential writings. L., 1975; Die Schriften / Hrsg. von S. Stauffer. Z., 1981.

Lit.: Tomkins C. The world of M. Duchamp. N.Y., 1966; Schwarz A. M. Duchamp. R., 1974; Cabanne R. Les trois Duchamp: J. Villon, R. Duchamp-Villon, M. Duchamp. Neuchatel, 1975; Molderings N. M. Duchamp. Fr./M., 1983; Bailly J. C. M. Duchamp. R., 1984; Lebel R. M. Duchamp. R., 1985; Moure G. M. Duchamp. L., 1988; M. Duchamp. (Cat.). Camb., 1993; M. Duchamp: artist of the century / Ed. R. E. Kuenzli, F. M. Naumann. Z., 1994; Mink J. M. Duchamp: art as anti-art. Koln, 1995.

Marcel Duchamp(French Marcel Duchamp, July 28, 1887, Blainville-sur-Crevon - October 2, 1968, Neuilly-sur-Seine) - French and American artist, an art theorist who stood at the origins of Dadaism and Surrealism. creative heritage relatively small, but thanks to the originality of his ideas, Duchamp is considered one of the most influential figures in the art of the 20th century. His work influenced the formation of such trends in art of the second half of the 20th century as pop art, minimalism, conceptual art, etc.

In 1912, he introduced the term "ready-made" (English - " ready product"), that is, a mass-produced product taken at random, exhibited as a work of art.

Later, Duchamp abandoned traditional expressive means altogether. One of his "ready-mades" "Fountain" consisted of a bicycle wheel mounted on a stool, a bottle rack and a urinal. "I threw a shelf of urinals in their faces, and now they admire their aesthetic perfection," he wrote in 1962. Duchamp's Readymades often called into question the existence of the very concept of "taste." Nevertheless, Duchamp's work had a huge impact on such art movements as surrealism and, later, conceptualism.

Marcel Duchamp was born on July 27, 1887 in the small village of Blancville-Crévon, located 20 km from Rouen. His father was a notary.

There were seven children in the family, one of whom died in childhood. Of the children, four became famous artists. Marcel had two older brothers: Jacques Villon (Gaston Duchamp, 1875-1963) and Raymond Duchamp-Villon (1876-1916), who became famous artists. The closest thing he was to his sister Susanna (1989-1963), who became an artist. The youngest were two sisters.

Love and interest in art in the family were due to maternal grandfather - Emile Nicolas, a former artist and engraver. The whole house was filled with his work. The father of the family gave the children freedom in the matter of choosing a profession, without insisting on continuing their business. Duchamp, like his older brothers, studied at the Lyceum in Rouen from the age of 10 to 17. He was not an outstanding student, but he did well in math, winning school math competitions several times. In 1903 he also won an art competition.

At the age of 14, he begins to take a serious interest in drawing. From this time, his portraits of his sister Susanna have been preserved. Trying to imitate his older brother Jacques Vionne, he creates several landscapes in an impressionistic spirit.

Born into the family of a provincial notary, with an interest in art, like his older brothers (painter Jacques Villon and sculptor Remond Duchamp-Villon) and younger sister, the artist Suzanne Duchamp-Crotti owes her maternal grandfather, amateur artist Emile Nicol. Duchamp's first paintings (landscapes of the surroundings in the spirit of impressionism, drawings) date back to 1902. In 1904 he arrived in Paris, settled in Montmartre, tried to study at the Julian Academy, and dropped out. Duchamp's painting during this period was not independent, close either to Cezanne or to the fauvism of Matisse. In 1909, his works were presented at the Salon d'Automne, and Guillaume Apollinaire responded to them in his review.

Through his brothers Jacques Villon and Remond Duchamp-Villon, Marcel Duchamp was introduced to Cubism. He joins the De Puteaux group, which included such artists as Gleuz, Metzinger.

In the 1920s, Marcel Duchamp actively participated in the collective actions of the Dada group and the surrealists, published in magazines and almanacs of the Dadaists, and participated in the filming of several films. The most famous of them was René Clair's film Intermission (1924) to the music of his friend, avant-garde composer Eric Satie, which became a classic of the genre and is still popular today. Subsequently, Duchamp practically withdrew from creativity, indulging in near-scientific research and his favorite game of chess, but for several decades remained the most influential figure in the American art scene and the international avant-garde, the object of the most controversial art criticism interpretations. After 1942 he lived mostly in the United States, in 1955 he became an American citizen.

Duchamp acted in films several times - including in the surrealistic film Intermission (1924) by René Clair, he himself shot the experimental film Anemic Cinema (1926) together with Man Ray, a short feature film by Paolo Marina Blanco (2002) is dedicated to him. ). In 2000, the Marcel Duchamp Prize for Young Artists was established in France.

Duchamp Marcel (1887–1968)

Marcel Duchamp became a revolutionary in art. He is one of the few artists who became famous thanks to his paintings. It was Duchamp who gave an exhaustive definition of the main principle of avant-garde art: "Art is everything that the artist points to." Based on this, almost any thing could be deprived of its usual context, as a result of which it was transformed into a work of art.

Marcel Duchamp was born in Blainville, the son of an artist. He began taking painting lessons in 1902, and a year later he moved to Paris, where he entered the Académie Julian. He survived the fascination with post-impressionism and fauvism. The young artist created a number of works in a similar spirit - "The Father of the Artist" (1910), "The Game of Chess" (1910), "The Bush" (1910-1911, all - Museum of Art, Philadelphia).

From 1911 to 1913, Duchamp was a member of the Puteaux association, whose representatives used the techniques of analytical cubism, which represented the crushing of forms and the intersection of faces and planes in compositions. Duchamp's painting of the 1910s is marked by an interest in the transmission of movement, and this moment brings his art closer to the experiments of the Futurists. Perhaps cinematography also had a certain influence on the style of the artist. This is what one involuntarily thinks about when one looks at the volumes that are layered on top of each other and thus, as it were, tend to fix the individual phases of the movement of the figure. The first painting of this kind, "Nude Descending the Stairs" (1912, Museum of Art, Philadelphia) - produced real sensation at an exhibition in New York. Remarkable works made in the same technique are “Portrait, or Dulcinea” (1911, Museum of Art, Philadelphia), “A Sad Young Man on a Train” (1911-1912, P. Guggenheim Foundation, Venice), “The King and Queen Surrounded by quick nudes ”(1912, both - Museum of Art, Philadelphia).

Further, Duchamp abandoned the depiction of complex structures and preferred to fill his compositions with massive, rigid and dry forms, reminiscent of the details of mechanisms. Thanks to them, the ratio of planes and volumes became inconsistent: "The Newlywed" (1912), "Chocolate Crusher" (1914), both - Museum of Art, Philadelphia.

In 1914 Duchamp became disillusioned with painting. He invented a new style- ready-made, which involved the use of household items as objects of art. This phenomenon became a revolution in avant-garde painting, since, in the frame of the exposition, industrial products acquired the properties of an abstract form: “Bicycle wheel” (1913), “Bottle dryer” (1914). Duchamp returned from America to France in 1919. He joined the group of Dadaists, whose representatives unconditionally accepted the invention of the artist - the ready-made.

M. Duchamp. "Nine Malic Forms", 1914-1915

A scandalous effect was produced by the exposition in the New York Salon of Independents of Duchamp's work called "Fountain". The artist exhibited as a work of art a urinal he bought in a plumbing store. True, he put his pseudonym on the subject - R. Matt. By placing a well-known object in an alien context, the artist made it a fact of art. With his Fountain, Duchamp challenged established notions about the nature of art. He declared publicly: "It does not matter who created the work: a certain Mr. Mutt or someone else, since this does not change anything in the anonymous properties of the subject."

Duchamp did not at all seek to express in his art an attitude towards reality. He seemed quite the opposite, wanting to get as far away from her as possible. He created new realities from already known objects. The search for the other world, not bound by the boundaries of earthly space, led the artist to create the composition "Nine Malic Forms" (1914-1915).

In 1915, Duchamp visited New York with Picabia and founded a group of Dadaists there. Until 1923, for eight years, he worked on the program piece "Large Glass: A Newlywed Bare by Her Bachelors" (Museum of Art, Philadelphia). The technique of this composition differed increased complexity. The artist used oil and varnish painting on glass, a spatial collage consisting of lead wire, foil and paper. The whole composition was placed between two cracked glasses. The work was intended to symbolize the movement of subconscious desires and innermost streams of consciousness.

Hostility towards traditional art Duchamp maintained throughout his life. In 1920, he shocked the Parisian public by presenting the composition L.H.O.O.Q. at an exhibition in the Palais des festivities. It was an ordinary reproduction from Leonardo da Vinci's painting "Gioconda", to which the artist added a mustache. The great masterpiece at that time was perceived by avant-garde artists as a symbol of respectability they hated.

M. Duchamp. "Large Glass: A Newlywed Bared by Her Bachelors", 1915-1923, Museum of Art, Philadelphia

M. Duchamp. "Fountain", 1917

When the Dadaist group broke up, Duchamp joined the representatives of surrealism and took part in the International Exhibition of Surrealism (1938, Paris).

Since the 1930s, Duchamp has completely abandoned visual arts. He was interested in chess, was fond of experiments in the field of optical illusions and cinema; he was greatly occupied with moving structures of various kinds. After the Second World War, the works of Duchamp were published, in which he considered various problems of fine art. In general, Duchamp's work predetermined the development of such forms of avant-garde art as op art, installation and kinetic art. He rightfully became the idol of a new generation of young avant-garde artists.

| |

BELARUSIAN STATE UNIVERSITY

STATE INSTITUTE OF MANAGEMENT

AND SOCIAL TECHNOLOGIES

DEPARTMENT OF ARTS

COURSE WORK

"The aesthetic meaning of M. Duchamp's ready-made works"

Completed:

Stepanov V.K.

3rd year student of the 4th group

specialty "Design"

Scientific adviser:

Professor

Renansky A. L.

Introduction

Chapter 1. A little about Marcel Duchamp.

2 Dadaism.

3 Avant-gardism.

Chapter 2. Marcel Duchamp - genius or mediocrity.

2.1 Article by Michel Leiris: "The trades and crafts of Marcel Duchamp"

2 Serse Philippe's article: "The Duchamp Fountain - readymade as a challenge and a demonstration".

3 The further life of "Fontana".

Chapter 3. The aesthetic meaning of M. Duchamp's ready-made works.

Conclusion

Application

Sources

Bibliography

Introduction

The aesthetic meaning of M. Duchamp's ready-made works. This is very interest Ask that has plagued many for almost 100 years. How? Why? For what? People are constantly asking these questions about Duchamp's work. Is an ordinary urinal bought in a plumbing store, signed on the side R. Mutt (which means "fool" in translation), and turned 90 degrees turned into a work of art? Or his famous bottle dryer. Is it really a work of art? How did ordinary household items suddenly get the status of works of art?

That is why I chose this topic for my term paper. To get at least a little closer to the answer to this question.

To answer a number of these questions, you need to know what goals Duchamp pursued. After all, having answered this question, we will be able to approach the answer to all other questions.

To my great regret, I will no longer be able to ask Marcel Duchamp personally all the questions that worry me. And I’m unlikely to be able to get into his head, so I’ll have to dig a little into his biography, work, find out how the artist lived, find out what bothered him. This is what will be discussed in Chapter 1. Also in this chapter we will talk about a number of terms such as:

Dadaism.

Avant-gardism.

In Chapter 2, I will introduce you to a series of opinions various people, namely: Sersa Philip, E. S. Domaratskaya. And from all this I will draw a conclusion.

In Chapter 3, I will draw my own conclusion based on all of the above.

That is, in fact, all the goals that I set for myself in order to answer main question: What is he like? The aesthetic meaning of M. Duchamp's ready-made works.

Chapter 1. A little about Marcel Duchamp

Henri Robert Marcel Duchamp - French artist, one of the greatest innovators in art of the 20th century.

Born July 28, 1887 near Blainville, France (near Rouen, in Normandy. In 1904 he moved to Paris, where he joined his brothers, Jacques Villon and Raymond Duchamp-Villon, and began to study painting at the Académie Julian. His studies continued until 1905.

In 1910-1911 he became interested in physics and mathematics; at the same time, Duchamp, together with his brothers and other young artists, organized the “Salon of the Golden Section”. The purpose of this artistic association there was a study ideal proportions and the golden section, as well as the mathematical foundations of art in general.

Early work Duchamp were created under the influence of post-impressionism.

The first time Duchamp exhibited his works was in 1909 at the Salon of Independent Artists and at the Salon d Automne in Paris. His paintings before 1911 were directly related to Cubism. Often these were successive images of the body in motion.

In 1912, Duchamp painted the final version of the painting "Nude Descending the Stairs". It was shown the same year at the Salon de la Section d Or and subsequently caused a great scandal at the Armory Show in New York, where one critic called it, not very wittily, "the pasta factory explosion" (1913). The author himself explained the concept of the painting as "the organization of kinetic elements, the transfer of time and space through an abstract image of movement."

Then, in the 1910s - 1920s, Duchamp moves on to a radical avant-garde search ("Nude descending the stairs", 1912; "The bride, undressed by her bachelors, one in two persons", 1915 - 1923), which brings him closer to Dadaism and Surrealism. At the same time, he defiantly eschews the role of an artist, a professional, and actually painting in the traditional sense of the word is becoming less and less common, practicing the shocking public method of “ready-made things” (ready-made), which makes only the will and signature of the author, the context of the exhibition or museum an artistic object. (“Bicycle wheel” (p. 32), 1913; “Bottle dryer” (p. 31), 1914; “Fountain”, 1917 (p. 18)). The works of old masters parodied as examples of "high art" can also become such an object - for example, "Gioconda" by Leonardo da Vinci ("L.H.O.O.Q.", 1919 (p. 33)). Duchamp's production of these years, extremely few and always of a provocative and playful nature, right up to the invention of imaginary authors (the most famous of these alter egos is the so-called Rosa Selyavi), is constantly accompanied by absurdly detailed analytical notes by the author. In most cases, Duchamp's original "ready-mades" have not been preserved, but the artist, as a rule, performed repetitions - for friends (in 1964 A. Schwartz published them in eight numbered and signed copies). In the same 1913 Marcel Duchamp turns to painting on glass. He creates a large composition "The Bride Stripped Bare by her Bachelors, Even" (1915-1923, Philadelphia, Museum of Art, Arensberg collection). In this amazing work, the artist reproduced pure and absurd frivolity and his philosophy of love and desire. In the 1920s, Marcel Duchamp actively participated in the collective actions of the Dada group and the surrealists, published in magazines and almanacs of the Dadaists, and participated in the filming of several films. The most famous of them was René Clair's film Intermission (1924) to the music of his friend, avant-garde composer Eric Satie, which became a classic of the genre and is still popular today. Subsequently, Duchamp practically withdrew from creativity, indulging in near-scientific research and his favorite game of chess, but for several decades remained the most influential figure in the American art scene and the international avant-garde, the object of the most controversial art criticism interpretations. After 1942 he lived mostly in the United States, in 1955 he became an American citizen.

Duchamp made the experimental film Anemic Cinema (1926) with Man Ray, and a short feature film by Paolo Marina Blanco (2002) is dedicated to him. In 2000, the Marcel Duchamp Prize for Young Artists was established in France.

Marcel Duchamp was a very bright and significant figure of that time. Among other things, he was very fond of chess and had the title of grandmaster. He played for the French team at international chess Olympiads. At first glance, the cold mathematics of chess seems to be the complete opposite of the subtle and unpredictable poetry of art, which Duchamp himself was well aware of. However, he managed to reconcile these opposites in a unique way: “In my life, chess and art are at opposite poles, but don't be fooled. Chess is not just a mechanical function. They are plastic so to speak. Every time I move pawns on the board, I create a new shape, a new pattern, and thus I am satisfied with the constantly changing contour. In addition to “plasticity”, i.e. closeness to the visual image with its inner essence, chess appealed to the mind of the artist with a special logic, leaving an imprint on the very manner of his creative thinking: “Not to say that there was no logic in chess. Chess forces you to be logical. The logic is there, but it's just not visible.

But the most important thing I would like to note is, perhaps, that M. Duchamp lived in accordance with the first philosophical virtue - freedom.

Having delved into the personal life and work of Marcel Duchamp, it is now necessary to define the three terms that shaped and characterized his work, namely:

Dadaism.

Avant-gardism.

made (ready-made, from the English. ready-made - finished product) - a term denoting household items, mass-produced products, torn from the usual environment by the will of the artist, and placed in exhibition halls as works of art.

The term ready-made in the context of fine arts was first used by the French artist Marcel Duchamp.

2 Dadaism

Dadaism is an artistic and literary direction, which has as its goal the destruction of bourgeois culture and the discrediting of philistine morals. In place of what is denied, Dadaism puts the anarchist initiative of the individual, who is not bound in any way to Everyday life and in art. (“The Dadaist is the freest man on the globe". “Who lives for today - lives forever” (R. Gulzenbeck). “I am against any system. The most acceptable system is to have no system” (T. Tzara)). The anarchist revolt of the Dadaists against "everything" is one of the extreme forms of figurative expression of the indignation and social helplessness of the petty-bourgeois intelligentsia and Bohemia in the face of the imperialist war and its social consequences. This is evidenced by both the emergence and the program and practice of Dadaism.

The founder of the movement, the poet Tristan Tzara, discovered the word "dada" in the dictionary. “In the language of the Negro tribe Kru,” Tzara wrote in a manifesto of 1918, “it means the tail of a sacred cow, in some areas of Italy this is the name of the mother, it can be the designation of a children's wooden horse, nurse, a double statement in Russian and Romanian. It could also be a reproduction of incoherent infant babble. In any case, something completely meaningless, which from now on has become the most successful name for the whole trend.

Dadaism and the currents that followed it are completely unthinkable as original or spontaneous forms of art, the most important prerequisite for their existence is the denial of the stable values of traditional artistic culture. The denial and destruction of not only the forms of self-affirmation of the named movements, but also the forms of their existence, and in this sense the term “anti-art” approaches them. The Dadaists proclaimed: "The Dadaists are nothing, nothing, nothing, surely they will achieve nothing, nothing, nothing."

3 Avant-garde

avant-garde [fr. avant-gardisme] - series name artistic movements 20th century, striving for a radical renewal of the arts. both in content and form; sharply criticizing traditional trends, forms and styles as well. often comes to belittling the significance of the cultural and historical heritage of mankind, to a nihilistic attitude towards eternal values.

Word French descent the avant-garde originally referred exclusively to military terminology and meant a detachment moving forward along the movement of the army; forward detachment. In the years French Revolution the word became a revolutionary metaphor and in 1794 entered the title of a Jacobin journal. Since then political sense began to force out the military.

The term in its figurative meaning was used in the works of French socialist utopians. In their own works, the term was first received by the following, artistic sense- the founder of the school of utopian socialism, Henri Saint-Simon, in the article "Artist, Scientist and Worker", published in the year of his death in 1825, in the union of the artist, scientist and worker, the leading role was assigned to the artist. The artist, according to Saint-Simon, is endowed with imagination and must use the power of art to promote advanced ideas: "It is we, the artists, who will serve you as the avant-garde."

In the history of fine arts, the avant-garde is designated as an artistic movement of the early 20th century and is therefore closely associated with Art Nouveau and Modernism, as well as with other currents such as:

· abstract expressionism

Bauhaus

· pointlessness

·Expressionism

Dadaism

· Constructivism

·Cubism

Systematism

Stochasticism

Suprematism

·Primitivism

·Surrealism

·Futurism

Chapter 2. Marcel Duchamp - genius or mediocrity

There are many different opinions and disputes regarding the ready-made works of M. Duchamp. Some will say he is a genius. Someone will say that he is an idiot who simply had nothing to do but turn over the urinals. But in order to understand the true meaning of his works, I have to dig much deeper.

In this chapter, I want to introduce you to a couple of very good, in my opinion, articles in which the authors try to answer questions regarding the work of M. Duchamp, namely: what were the works of ready-made M. Duchamp, what goals did he pursue .

In sub-point 2.1 I will review the article by Michel Leiris - French writer and an ethnologist: "The trades and crafts of Marcel Duchamp".

In subsection 2.2 I will review Serse Philippe's article - French philosopher, art historian, teacher of aesthetics and art history, author of the books: "Kandinsky: philosophy of abstraction, metaphysical image" (1995), "Dialogue with the work: art and criticism" (1995), "About Dada: an essay on the Dadaist experience of the image" (1997 ), etc.: " Fountain

In subparagraph 2.3 we will talk about the future life of the "Fountain".

1 Article by Michel Leiris: "The trades and crafts of Marcel Duchamp"

M. Leiris begins this article by urging us to think about our way of feeling and thinking. is it connected most of what is called aesthetic pleasure, with the game of substitutions?

Michel Leiris notices a certain play in the work of Marcel Duchamp. He says that Marcel Duchamp, with his works, is trying to anarchically desacralize stable classical values. And I think he succeeded to some extent:

“Widely using serial (ready-made, typical) things, Marcel Duchamp - with his rejection of everything that anachronistically reminds of manual labor - does not at all seek to simply replace the particular, calligraphically derived by the individual, with the universal, endowed with the same (absolute in its completeness) inevitability, which is endowed with a printed page compared to a handwritten one. No, no mysticism of beautiful things, no fascination of simple-minded Westerners with wonderful products. industrial production. Rather, this move is one of the logical links in the hard work of desacralization and anatomy of painting, to which Duchamp has been devoted for many years, preoccupied with using his - as you know, rare - gift of the artist exclusively in the form of his negation.

By this, M. Leiris emphasizes the Dada nature of the works of Marcel Duchamp, namely the denial and anarchism in relation to stable values.

“A kind of hopscotch game, a mysterious sequence of cells through which the mind can jump on only one leg” - these are the metaphors that, in my opinion, can give at least general idea about the methods used by Duchamp in what one has to call, for want of a better word, "works". Such cleaning up to ascetic purity, which Duchamp's cheerfully uninhibited manner leaves behind in place of any excesses, provides one invaluable advantage: in art, already almost indistinguishable behind the screens of social conventions and the halo of religious reverence, play is revealed. The joy of a man who, having clearly seen the endless system of mirrors in which he is walled up with his lot, once and for all refuses of his own free will to fall into the trap of soap bubbles, painted magic lanterns, and with an understanding of the matter builds his own cabinet of curiosities; the joy of not an artist and not a creator, but an inventive creator who, in place of generally accepted reflections, puts many others that are not approved by anyone in practice, but therefore no less justified, and, without asking anyone, makes magnificent seals and business cards, game puzzles for Lepin competitions and pot-bellied silenes full of healing oils and philosophical subtleties.

2 Article by Serse Philippe: “ Fountain Duchana - readymade as a challenge and demonstration"

In this, in my opinion, excellent article Serse Philippe, just the same, answers the question: What are the goals pursued by M. Duchamp, performing, and then exhibiting his most famous work "Fountain".

Serse Philippe begins with the fact that the artist engaged in a methodical search, in addition to the prevailing conventions, also faces such a danger: it is necessary to avoid the traps of a social consensus that tends to give the work a sacred character (all the destructiveness of which we have already seen in Nietzsche's analyses). Marcel Duchamp's famous ready-made "Fountain" is called upon to eliminate such a risk, the true intention of which has to be clarified to this day, since modern thought harbors many illusions about this object, based on a very approximate criticism of its predecessors. Actually, the entire critical fate of this demarche is marked by an impressive number of erroneous interpretations.

The misunderstanding was started in 1967 by Daniel Buren, who stated that “from the moment Duchamp set out a bottle dryer, a shovel or a urinal<…>in fact, anything becomes art, one has only to designate this “something” as art.

"The thought seems seductive: "anything" belongs to the register of hypothesis from the field of exact sciences, and at first glance the formula looks good." - writes Serse Philippe, - “However, in fact, Buren's conclusion turns out to be a source of false interpretations. Thus, some authors see in Duchamp's decision to exhibit "The Fountain" a key moment of modernity: hence the conclusion that the criterion of art lies not in the work, but in the gesture of one who proclaims himself an artist, and in the look of one who accepts the works proposed by the artist as such. . It turns out that Duchamp thereby elevates "anything" to the rank of a work of art, and the formula "you can do anything that only comes into your head", for its part, gives the layman the opportunity to consider ready-made mediocrity. But Duchamp argued that readymades are not art. The ideological construction turns out to be no more stable than the definition of “modernity” given in the same analysis in relation to the avant-garde.

The reasons for Duchamp's decision have been erroneously analyzed, since he is actually resorting here to a proof from the absurd. The definition of art interests him no more than any other avant-garde figure. But the appraisal of social institutions - and this is precisely what such a mistake of interpretation conceals - brought out of his project only the spectacular side of the gesture. Such a collective sieve, by definition, is capable of retaining only what can interest it: productions, unexpected performances or spectacular demonstrations. In this institutional sieve, only the external, quantifiable - one appearance remains.

In 1912, right before the opening of the exhibition at the Salon des Indépendants in Paris, Duchamp was required to remove his Nude Descending the Stairs from the exhibition: the picture shocked the organizers. But as it turned out, he later put it on the "Armory Show" in America, New York. It was there that the visitors appreciated it. Lined up long lines from the crowd of people just to look at his work.

All this incident greatly inspired M. Duchamp. In 1917, Duchamp, without indicating the name of the sender, sent to the New York Salon of Independents (of which he was one of the founders) an inverted urinal, called "Fountain", and signed "R. Mutt". The proposed object was rejected by the organizers, who had no idea who the sender was.

Contrary to the prevailing view, the "Fountain"-urinal is not a "work of art" in the conventional sense of the word. Duchamp himself confirmed this quite unambiguously in a letter to Hans Richter: “When I discovered the principle of ready-mades, I hoped to put an end to all this carnival of aestheticism. But neo-Dadaists use readymades, trying to find aesthetic value in them. I threw a dryer and a urinal in their face - as a provocation - and they admire them aesthetic beauty».

Marcel Duchamp did not position the urinal and bottle dryer as a work of art in the sense that we usually give it. With his demonstration, he revealed the mirage that hides the aesthetics of perception: if you entrust the judgment to museum visitors and art salons, the work of art will be affirmed by a faceless institutional field. But even by these criteria, the fountain, signed with the name "Mutt" (a slightly distorted name of the plumbing company), is not a work of art. It would have become one if it had been signed by Duchamp, who, as the founder of the Salon, had institutional power.

3 Later life of "Fontana"

Duchamp's work continues to torment artists who, no, no, and even burst out with some kind of reference to him. Here, for example, in Russia two such remarks were made in the direction of "Fountain". In 1993, Avdey Ter-Oganyan exhibited his work "Problems of Restoring Works of Contemporary Art" at the Trekhprudny Gallery.

“I imagined a situation in which Duchamp's Fountain crashed,” the artist comments. - “What will the museum workers do? Glue the old one or buy a new one. I think they will do the most ridiculous thing - make a copy. But it's not about specific subject, but in idea. Duchamp even left instructions that museums should always exhibit the usual new model for three kopecks - in order to avoid turning the "fountain" into nostalgic antiques.

A year before, in the same "Gallery on Trekhprudny", Ter-Oganyan exhibited a urinal, returning it to its original functions.

Surprisingly, not long after, performance artist Pierre Pinoncelli urinated on a Duchamp piece on display in Nimes, southern France. He told the court that in this way he returned the truly Dadaist spirit to Duchamp's work. The artist was sentenced to a month in prison for "deliberately defacing a public object", which actually sounds very ambiguous.

On January 6, 2006, the French police detained Pinoncelli for the second time, already at the Pompidou Museum of Modern Art, where Pinoncelli wrote “Dada” on the “Fountain” and, trying to break it with a hammer, broke off a piece. In his defense, Pinoncelli said: “I am not some cheap vandal that people try to make me out to be. Vandal does not sign his work. I winked at Dadaism, I wanted to evoke its spirit, the spirit of disrespect.” However, despite the credibility of the explanations, the court still gave 77-year-old Pierre Pinoncelli three months probation and fined him.

Chapter 3. The aesthetic meaning of M. Duchamp's ready-made works

In this chapter, I will answer the main question: what was the aesthetic meaning of M. Duchamp's ready-made works? I will also write my opinion regarding his work and contribution to art.

Unfortunately, I was not able to personally talk on this topic with Marcel Duchamp, so I will draw a conclusion based on all of the above.

Serse Philippe wrote in his article that M. Duchamp does not even try to elevate his works into the framework of a “work of art”. To him, it was just a gesture. A spit in the face of an ignorant society and the herd instincts of mankind. But were all of his ready-made works a gesture? Why didn't he poke society's nose into their shortcomings? Why didn't he speak out loud about them?

Well, I think that his first ready-made works were not a gesture at all. It is possible that the artist was in search of himself. Perhaps he wanted to show the beauty of things around us. Duchamp said that "taking an ordinary household item, I positioned it in such a way that the meaning of utility disappears under the pressure of a different name and a different approach." His explanation could be understood in the sense that he wanted to make viewers see everyday objects in a different light, but it turned out that Duchamp did not mean beauty at all. He sought to move away from visual perception, "retinal perception" as he called it, to purely intellectual or "cerebral" perception. The point was not to see bicycle wheel urinals in a new light, but to think about them in a different way.

And only in the case of "Fountain" Duchamp, as it were, ridiculed the herd instincts of society. He is offended by the fact that his work "Nude Descending the Stairs" was first ridiculed in France, and then recognized in the USA as a chip regarding the evaluation of works of art. That is why he signed the urinal not M. Duchamp, R. Mutt (which means "fool" in translation). And after all, they lifted this urinal into the framework of a work of art only when they found out that the author of this “creation” was not some unknown Mr. R. Mutt, but already famous at that time, Marcel Duchamp.

Most likely, all his subsequent ready-made works were also a kind of mockery, a spit in the face of those who, relying on the status of people, elevate their work to various categories.

Duchamp avant-garde Made Dadaism

Conclusion

Marcel Duchamp is truly a legendary figure. There are still talks and disputes about his work, and almost 100 years have passed. You can spend many hours discussing, arguing, talking about his work and contribution to art. But we will never know the 100% true reason for the creation of his works, because we cannot go back to the past and get into his head.

One thing is for sure, this medal has two sides. The positive is that M. Duchamp made an attempt to ridicule ignorance in the evaluation of works of art. Ridicule the herd instincts of society. And of course, the plus is that ready-made brought us Installation.

The negative side is that Marcel Duchamp (even despite the fact that he himself does not consider his ready-made works to be works of art), kept silent, without loudly poking the society at their shortcomings. In doing so, he blurred the boundaries between the beautiful and the ugly. And if there are no boundaries, then, consequently, any objects around us are works of art. And if all these are works of art, then there are no works of art at all.

Textbook readymades Fountain , bottle dryer , Bicycle wheel were created by Duchamp in the period from 1913 to 1920, and in 1964 the artist executed their author's copies. According to preliminary data, this collection of readymades by Duchamp was estimated at 12.6 million dollars. At a Phillips auction in 2002 Fountain was sold for $1,185,000, Bicycle wheel - for 1,762,500 dollars, Air of Paris - for $167,500, and Comb for just $123,500.

And now every ignoramus in the hope of earning more will do something similar. For example, at the largest exhibition of contemporary art in the world "Art Basel Miami Beach" exhibited such exhibits:

Or here's another one:

And this "brilliant" work of Damien Hirst, one of the most successful contemporary artists, was sent to Mars in the British spacecraft at the end of 2003:

Sources

· Serse Philippe: Fountain Duchamp - ready-made as a challenge and demonstration.

· Michel Leiris: "The trades and crafts of Marcel Duchamp".

· E. S. Domaratskaya: "Experimental Art of Marcel Duchamp".

·<#"justify">Bibliography

1.Romanov I. "All chess players are artists." // "64 - Chess Review". - 1987. - No. 17. - S. 22-23.

.Octavio Pas. The castle of purity // Art magazine. - 1998. - No. 21. - S. 15-19 (chapter from the book of the same name about M.D.).

.Michelle Leiris. Trades and crafts of Marcel Duchamp // Space in other words: French poets of the XX century about the image in art. - St. Petersburg: Ivan Limbakh Publishing House, 2005. - S. 124-132.

.Duve T. de. Picturesque nominalism. Marcel Duchamp, painting and modernity / Per. from fr. A. Shestakova. M.: Publishing House of the Gaidar Institute, 2012

.Tomkins C. The World of Marcel Duchamp. New York: Time, 1966.

.Schwartz A. The complete works of Marcel Duchamp. New York: H.N. Abrams, 1969.

.Marcel Duchamp / Ed. by Anne D Harnoncourt, Kynaston McShine. New York: Museum of Modern Art, 1973.

.Suquet J. Miroir de la Marie. Paris: Flammarion, 1974.

.Goldfarb Marquis A. Marcel Duchamp= Eros, c est la vie, a Biography. Troy: Whitston, 1981.

.Bonk E. Marcel Duchamp, The Box in a Valise. New York: Rizzoli, 1989.

.Cage J. Mirage verbal: Writings through Marcel Duchamp, Notes. Dijon, Ulysse fin de siècle, 1990.

.Marcel Duchamp: Work and Life/Ed. by Pontus Hulten a.o. Cambridge: MIT Press, 1993.

.Buskirk M., Nixon M. The Duchamp Effect. Cambridge: MIT Press, 1996.

.Joselit D. Infinite Regress: Marcel Duchamp 1910-1941. Cambridge: MIT Press, 1998.

.Difference/indifference: musings on postmodernism, Marcel Duchamp and John Cage/ Ed. by Moira Roth M., Jonathan Katz. Amsterdam: GB Arts International, 1998.

.Hopkins D. Marcel Duchamp and Max Ernst: The Bride Shared. New York: Oxford UP, 1998.

.Friche V. M., Western European literature of the XX century, Giese, M. - L., 1926.

.I. Matsa, Problems of artistic culture of the XX century, M., 1969; L. A. Bazhanov, V. S. Turchin,

.On the judgment of avant-garde and neo-avant-garde, in Sat.: Soviet art history, "77, v. 1, M., 1978

.Lexicon of non-classics. Artistic and aesthetic culture of the XX century. VV Bychkov. 2003.

.Anthology of French Surrealism. 20s. (compiled, commentary and translated by S. Isaev and E. Galtsova) M .: GITIS, 1994

.Chegno-Gandron J. Surrealism. M.: NLO, 2002

.encyclopedic Dictionary surrealism. Comp. T. V. Balashova, E. D. Galtsova. M.: IMLI RAN, 2007

.Galtsova E. D. Surrealism and theater. To the question of the theatrical aesthetics of French surrealism. Moscow: RGGU, 2012

."Surrealismus", Brodskaia.N.V, New York, Parkstone Press International, 2009 (255 pages, 195 illustrations, 11 aut. sheets of text) (German, English, French)

.Pinkovsky V.I. Poetry of French surrealism: the problem of genre. Magadan: Kordis, 2007

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.