And this is Marcel Duchamp's own persona!

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It was not even for that name to Marcel Duchamp's sinking in this forum for all word forms, so let's look together, whether it was appropriate to decline to satisfactorily

No, seriously, I think that he himself immeasurably better known than his work with the exception of one or two.
Let's try to illustrate his biography of his own works with the comments of the author.

Henri-Robert-Marcel Duchamp was born in Normandy town Blanvil July 28, 1887 He had 5 brothers and sisters, almost all of them one way or another involved in the arts.

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He started to paint since 1902, first it was landscapes in the Impressionist manner, then - portraits. In 1904 he pereezdaet in Paris. There he continued to paint, falling within the influence of Cezanne at first, then - Fauvism (Matisse, Derain).

portrait of his father. 1910 Blanvil. Oil on canvas, 92 x 73. Philadelphia Museum of Art. (picture number 1)

"In 1909 and 1910, I discovered Cezanne, who was then virtually unknown. I wrote this portrait in 1910, and it illustrates my cult of Cezanne, as well as my love for my father. "

The game of chess, Paris, 1910. Oil on canvas, 114 x 146. Philadelphia Museum of Art. (picture number 2)

"Another example of the influence of Cezanne - katrtina depicting a chess game between two of my brothers. This picture was painted in the summer of 1910 from life in the garden in the suburbs of Paris, where they then lived, and presented at the Autumn Salon of that year. Salon jury awarded me the status of members, which gave me the opportunity to exhibit their work, not presenting them to the jury. It is unclear why, but I never took advantage of this privilege and never exhibited at the Salon d'Automne. In the foreground picture, I wrote my two beautiful girls, sisters, drinking tea ... "

«Bush. Paris, 1911. Oil on canvas, 127 x 98. Philadelphia Museum of Art. (picture number 3)

School Fauvism was characterized by free use of the deformation of nature that emerged from Cezanne and the Impressionists. This work - the first indication that I turned to another form of Fauvism, which was based not only on the deformation of nature. Figure stylized characters, both contrast and color are fused. Name the first picture is neopisatelny character. From this moment all my life I attached great importance to the name of my work, which has become for me a kind of invisible colors.

«Portrait of players in chess. Paris, 1911. Oil on canvas, 108 x 101. Philadelphia Museum of Art. (picture number 4)

"Using again the technique demultiplikatsii in my interpretation of the theory of Cubism, I painted a portrait of my two brothers playing chess, this time not in the garden, and in an indeterminate space. Character on the right - Jacques Villon, and the left - Raymond Duchamp Villon, the sculptor. The head of each character is composed of a number of profiles in the middle of the picture, between the simplified chessmen, which was littered with all its surface. Another characteristic of this work - its grayish color. One can say that the first reaction against Cubism Fauvism was the refusal of the intense color and replacing it with muted palette. The picture has been deliberately written with gas lighting to achieve this muted colors in daylight.

«grinder. Paris, 1911. Oil on cardboard, 33 x 12,5. Londres, Modern Tate. (picture number 5)

"My brother decided to decorate the kitchen of his house in the suburbs of Paris pictures of their friends. He asked Glez, Metzinger, and seems to draw him small Leger paintings of the same size, which he wanted to hang out so that they formed a sort of frieze. "

"With this request, he turned to me and I wrote to him coffee grinder, which I bombed: ground coffee wakes up the gears are at the top, and handle simultaneous visible from several points of view, and it is accompanied by an arrow that points the direction of movement" .

"Without knowing it, I'm here, opened a window into something new. This arrow was an innovation, which I liked very much because of his kinship with diagrams. From an aesthetic point of view it was very interesting. "

«Nude descending the stairs." 1912. Oil on canvas, 146 x 89. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection. (picture number 6)

"In this final version of" Nude descending the stairs, "written in January, the m1912, concentrate all that interested me at that time, schastnosti, film, and the provision of static positions in chronophotography Marla in France, and Ikonsa Mebridzha in United States ... "

"The coloring of this picture is sustained in severe brownish-beige wood. Anatomical nudity is absent, or at least invisible, because I absolutely refused to external naturalism, leaving only about twenty different static positions, which the body takes while descending the stairs. "

"Before we put this work in 1913 g.na Armory Show in New York, I sent it to the Paris Salon of Independent in 1912, but my friends, the artists did not like her name, and they asked me to change it. But instead, to change whatever it was, I just took his job and Exhib it in October of that year at the Salon of the Golden section. At this time no objection, she did not call ... "

«Bicycle Wheel. Paris, 1913. (picture number 7)

"This is my first" Readymade ", which is not even called" Readymade ". See how the wheel turns, it was very nice, it's reassuring, brought pacification, this made a breakthrough in something else, far from everyday life. I liked the idea that my studio is a bicycle wheel. I loved looking at him, as I like to look at the fire blazing in the fireplace. "

"We can assume that I gladly accepted the idea of the wheels as an antidote to the usual movement of the individual around the object, which he considers".

«It was just a toy. Meaning it has acquired much later, when people opened it, and they thought about it you can say anything interesting ».

«Stand for bottles. Paris, 1913. (picture number 8)

Radicalism of this ideal Readymade not marred by any vmeshatelsvom hands of the artist. Even the name does not distract us from the object.

"In 1913 I made a" Stands for bottles. I just bought it in store BHV ».

"When I got off the streets of Saint-Hippolyte before leaving for the United States, a sister and daughter all were taken from the apartment. They threw it all in the trash, and the more we talked about it. "

In 1915 he moved to New York and settled in the famous philanthropists Walter and Louise Arensberg. It is they, he met Man Ray, the friendship which was interrupted only by death.

This time, dates zobretenie term "Readymade".

«With a secret noise. New York, 1916. (picture number 9)

"With a secret noise" - such is the title of the "Readymade through" - bichevki coil placed between two copper plates, and fastened by four long bolts. Secretly me Walter Arensberg put a ball bichevki small object, made some noise when the ball Jogging. I still do not know what kind of object, and no one knows.

"On the copper plates, I wrote three short phrases, which lacked some of the letters, like neon signs, in which some letters are not lit, and the word becomes incomprehensible."

«The Fountain". New York, 1917! (picture number 10)

Duchamp had lived in New York two years ago, when it approached some members of the Committee of the founders of the Society of Independent Artists, organized along the lines of the Paris Salon of Independent, and use the same motto: "Neither the jury nor prizes, with an invitation to become a member.

He readily agreed and was appointed director of the Committee on hanging responsible for pervyyu exhibition of the Society, to be held on April 10, 1917 in the Grand Central Palace.
To amuse himself, Duchamp decided to test the tolerance of the young Society. A few days before opening day he went to the company «JL Mott Iron Works », a major supplier of sanitary ware in New York and bought a urinal. Then he turned it bottom up, called it "Fountain", under the pseudonym R. Mutt, was dating him in 1917 and anonymously sent him to Grand Central Palace, to add to his sending $ 6 membership fee required for participation.

Of course, getting Fontana was controversial, and soon there was a clash of two clans - zafontanschikov (advocated the observance of the principles of the Company, and argues that only the artist himself may decide that it is an art) and protivofontanschikov (which argued its otritsalnoe view obscenity exhibit, so that it was not an original piece of art, and in general had no relation to art). A few hours before the opening of the exhibition with a dozen members of the Society put the question to the vote, won protivofontanschiki, and Fountain rejected. Thus, the motto of the Society "No judges, no award" did not last until the opening day of the first exhibition. Satisfied, Duchamp resigned.

Three days later appeared Fountain Gallery 291, where at the request of Duchamp, he was photographed by Alfred Stieglitz. This photograph - the only trace of genuine Fontana, as soon he was lost, and all attempts to locate him to date failed.

Duchamp published an article "Richard Mutt Case" in defense of Fontana:

In 1918 he was a few months went from Buenos Aires, where he experimented with various techniques for processing glass, apparently already nurturing plan "Big Glass".