And this is Marcel Duchamp's own persona!

[LCR]

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".

[LCR]

«You m. ..". 1918. Oil on canvas, pencil, 3 safety pins, whack for cookware, vices. New Haven, Yale University Art Gallery, Katherine S. Dreier Bequest. (picture number 11)


"You m. .." is usually considered the work of Duchamp's last painting. This picture is of unusual size was commissioned by Catherine Dryer to hang it in the space above the bookshelves in her home library.

"It is rather a sort of inventory of all my previous work than individual work. I never liked her because she is too decorative. Summarize all activities in one picture - not very attractive occupation ... "

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In 1919, while passing through Paris, he left his fellow Dadaists reproduction of the Mona Lisa, which he pririsoval mustache and beard. (picture number 12)

"In 1919 I again went to Paris, where he had just appeared the local branch of Dada. Tristan Tzara, who came from Shvaytsarii, where this movement originated in 1916, joined the group in Paris by André Breton. Picabia and I myself have expressed our sympathy from the U.S. to this direction.

This bearded Mona Lisa - Readymade iconoclastic combination with Dadaism. Original, that is, I mean the original Readymade, was cheap picture size of 8 x 5 inches, on the back which I wrote the abbreviation of five letters that make up a very dangerous joke about the Mona Lisa - LHOOQ (which can be translated as "it is at the front of the weak", but the original - I mean the original inscription Duchamp - vulgar).

Around 1920 Duchamp invented his alter ego, eccentric Rrozu Seliava (Rrose Sélavy - all, of course, know that "ce la vie" means "that's life, but the spelling of Duchamp has nothing to do with the original formula «c'est la vie».). (pictures № 13-14)

"I zakotelos change his identity, and the first thing that occurred to me to find a character, is that he must be a Jewish surname. However, I did not find the names that I liked and would have tempted me, then I thought: What's the price would not change the floor? Thus was born Rroza Seliava. I liked it when the name starts with a double consonant, as in Lloyd.

Name Rrozy Seliava appears first on some amazing and bizarre objects:

«shameless widow. New York, 1920. 77 x 51,5. (picture number 15)

"This reduced model of the window in the French style was performed by one of New York carpenter in 1920 to finish the job, I replaced the glass with pieces of skin, and I demanded to be cleaned every day, like shoes. This "French Window» (French Window) received the name «Fresh Widow» - a rather banal pun ... "

«Why not sneeze Rose Sélavy?». \ New York, 1921. 11,4 x 22 x 16. (picture number 16)

Dorothy Dryer, who contracted enthusiastic about Duchamp from his sister Catherine, wanted to buy his product. She gave him complete creative freedom and $ 300, and he sang for her «Why not sneeze Rose Sélavy?». This is a small cage for birds, which is filled with something like the pieces of sugar, among which are the thermometer, and cuttlefish bone.

"... try to raise the cage, it is very hard, potosmu that white cubes, which you take for kustchki sugar is actually made of marble. This Readymade, in which the sugar is addressed in marble, creating a kind of mythic impact. "

"The thermometer is designed to measure the temperature of marble.

But Dorothy Dryer work did not like, she gave it to his sister, who has returned to its author.

Rroza Seliava was not alien to the literary talents. In 1939 appeared a collection of "Vzbryki of all kinds.

«Large Glass". New York, 1915-1923. (picture number 18)

The term "picture" Duchamp preferred the term "opinion".

"Looking Glass,
As a poem in prose "or" silver spittoon.

The product consists of two glass plates of the same size, which formed the ensemble in 272 x 176 cm They are painted with oil, are applied to different techniques of working with glass - the imposition of a lead wire, drilling, etc.
At one of the glasses Duchamp presented his views on the prospects of his melancholy bachelor, the second placed "ether bride".

Work was created for Arensbergov, but moving from New York to California clients have decided to leave it because of the fragility of proizveneniya. On this occasion, Duchamp decided to leave this work unfinished.

«anemic cinema» (Anémic Cinéma). Paris, 1926. Silent film for a period of 7 min., Black and white. Implemented in collaboration with Man Ray and Marc Alegre. Copyright Rrozy Seliava. (picture number 19)

Classic experimental film. Within seven minutes, running fixed plans with nineteen disks. In nine of them quoted the words of Rrozy Seliava (sorry, untranslatable, because the alliterative - way, and not so funny, Alphonse Allais much better), and at ten other shows mesmerovy spiral.

«paradoxical door." Paris, 1926.

Arriving in Paris, Duchamp took a small apartment on the street. Larre, where he established a "paradoxical door", which always remains open and closed - opening a passage to the bedroom, she closes it in the bathroom and vice versa.

«Bride, undressed her bachelors, even". Paris, 1932
This is a box containing 93 paper (photographs and facsimiles of drawings and handwritten notes 1911-15 gg.), Was printed in 300 copies.

"This name, in which unexpected adverb introduces an element of the absurd, sends us to the most complex and innovative artistic project of the twentieth century. It was conceived in 1911, enriched by the bold experiments Duchamp; kvintessentsiya it - are the two works are as fundamental as they are complementary - "Big Glass" (1915-1923) and "Green Box" (1934) - wrote an expert on Duchamp from the Pompidou Center.
To preserve the private nature of their notes, as well as to show how little importance it attaches to its records, Duchamp refused to bring them into the order and send to the printer; with them a picture, that reproduce them in the form in which they had been - torn or soiled notes pocherkushki on scraps of paper of different made in pencil, black, red or blue ink, record without beginning and end, interspersed with graphics ... All this is housed in a large cardboard folder, which performs the function of binding books.

We can assume that the overall plot is a series of eroticism, which gives the author an opportunity to indulge in extravagant speculations of the areas of mechanics, chemistry, optics, mathematics ... patafizicheskoe strict interpretation of the law of universal attraction of bodies. "

"My interest in kinetic eivopisi exhausted, and, breaking off its cooperation with Cubism, I turned to a form of expression, absolutely nothing to do with realism, not having."

"This painting belongs to a series of sketches that I did for" Big Glass ", I started three years ago in New York. I developed an extremely accurate technique, which was not obliged to any of the existing schools of art. "

"Here we are dealing not with a realistic interpretation of the bride, and with my concept of the bride, as expressed in stratification of mechanical elements and animal forms."

"I was interested to introduce the art of rigor and precision of science, so do not very often. I did this not out of love for science, on the contrary, I would probably reject it, but secretly, easily and without strain. But in this work, there is irony ".

"The dominant figure of the product - flirting with the audience bride. Coming out of the car, she throws his gear in the air over the nine bachelors in uniform, presented in the form of copper molds, filled with gas, which is called "attraction". This attraction is subjected every transformation, and in the end - oh, what delight! - Opens the field of influence bride. And then need only a little skill - or luck - to expose it. "

Theme bride I've had, I think, in the form of buffoonery at fairs, in which the audience offered to throw metal balls in the mannequins, often representing the wedding scene, with the most clever and fortunate to decapitate them. An object which characterizes the most accurate idea of a bachelor - a uniform. Uniform - a very brave subject. From this - the idea of "the cemetery of uniforms and liveries.

This is ridiculous inspiration is enriched through contact with other themes present in "naked down the stairs" and "grinders" - such as movement, the concept of time, the use of drawing ...».

«Rotorelefy. Paris, 1935. (picture number 20)

His rotorelefy Duchamp considered toys. Altogether he produced 12 rotorelefov with graphic drawings on the basis of a spiral, printed on both sides of the six discs of thick paper. If they are placed on a rotating basis for the phonograph, they create the illusion of spatial objects - balls, cones, etc.

Patented them, he published an edition of 500 copies and presented them to the competition Lepina (competition for amateur inventors, existing to this day), but his invention did not have any success.

boxes in the trunk. Paris, 1936-1941.

After five years of preparatory work Duchamp assembled all the elements necessary to assemble "boxes in the trunk, which was to contain about sixty of his major works in miniature. The first 24 copies of the "portable museum" he made himself.

In the 1940's became the artistic consultant of the Peggy Guggenheim.

In 1942, he returned to New York where, together with Andre Breton, they organized an exhibition "The first documents of surrealism. Before he pulled the exhibition of the exhibition hall of the network of metal wire, so that the visitors were forced to wade through it to the exhibits. (picture number 20)

In the same year he ponakomilsya with John Cage (american composer - analog Duchamp in music).

In 1944 he performed a sketch of his last significant project "With a view", on which he worked until his death, and which was shown to the public after it.

Important date: 1959 As a result of the publication of a monograph on Duchamp Robert Léveillé new generation of American artists - Robert Rauschenberg, Jasper Johns, Andy Warhol, Duchamp opened.

1963 The first major retrospective of Duchamp and Rrozy Seliava, organized by Walter Hoppsom Passadeny at the Art Museum in California.

1966 The first retrospective exhibition in Europe - London, Tate Gallery.
1968 - Marcel Duchamp's death .. Epitaph on his tomb reads: "However, the die is always different."

Some sayings:

"The best that can be produced - is the silence, because it runs in the space ... this product does not need a signature, but there is not less than all of its benefits. "

"You can see the man kotorvy looks, but you can not hear a person who listens."

"The most evil enemy of art - good taste."

"Art - a game between people of all epoz.

About Readymade.

In 1913, I was struck by a happy idea to install bicycle wheel on a kitchen stool, and then watch as it spins.
A few months later I bought a cheap reproduction of a winter landscape, added to nimu two colored spots on the horizon, one red, the other - blue, and called him a "Pharmacy".

In 1915, in New York in the hardware store I bought a shovel, which I wrote: "In anticipation of the broken arm.
It was by this time I found the word "Readymade" to define a form of creativity.

I would like to emphasize one thing: my choice Readymade never defined aesthetic pleasure. This choice is driven by a reaction of visual indifference, coupled with an absolute lack of good or bad taste, that is full anesthesia.

An important characteristic: short phrases, which I occasionally write on Readymade. These phrases, rather than to describe an object, as usually happens with the title, were intended to send a thought in the viewer area words. Sometimes I add graphic details, then I called these things "Readymade through.
And sometimes, in an effort to emphasize the fundamental antinomy that exists between art and Readymade, I invented "mutual Readymade": use a Rembrandt as an ironing board!
Very soon I realized the danger of widespread use of this form of expression and decided to limit the number of Readymade small number of works per year. I realized at that time that art is for viewers to effect it drug addiction, even more than for the artist himself, and wanted to protect my Readymade from this phenomenon.
Another characteristic aspect of the Readymade is that it is absolutely not unique. Replica Readymade is identical message. In general, almost all Readymade, existing at the present time, originals are not in the literal sense of the word.
A final remark to conclude this speech egomanyaka:
The fact that the tubes of paint used by the artist, are industrial goods, we must conclude that all the paintings in the world are "Readymade through" and assemblages.

From the speech of Marcel Duchamp at the Museum of Modern Art in New York, 1961

[Meister]

By the way, Duchamp (MP) moved to their Readymade precisely because of the "Nude", which is completely misunderstood in Paris and took to the cheers six months in New York. He was so disappointed after that in art, he decided he no longer engaged, but do Readymade, which should not bear any aesthetic burden, they should not like. Readymade can only be comprehended, but should not cause emotional or sensual experiences. He neodkratno he repeated that it is not art, it is his protest art and lovers. During his life he has created in my 50-60 Readymade, 1 /3 of which are then simply tossed because they are tired of him. Therefore, the Americans (modern painters after 2 world), for which it seized and described their artistic creations of all epithets, who knew just lies, those absolutely do not understand what he meant. Or may be understood simply decided to leave in the wake of ...

And Duchamp is actually the artist was very good ...

[Glasha]

Сообщение от Meister

Duchamp (MP) moved to their Readymade precisely because of the "Nude", which is completely misunderstood in Paris .... He was so disappointed after that in art, he decided he no longer engaged, but do Readymade, which should not bear any aesthetic burden, they should not like.

Well, pdtverzhdenie that the artists must be careful; offended the artist, and that ....? in that it has evolved, and in the literal sense of the word?
A bad start as a painter, and "Nude, down the stairs, really, good job.

[Meister]

Сообщение от Gala

in that it has evolved, and in the literal sense of the word?

this resulted in the artist's protest against the art critics, who by the way, then more than once distorted his work, including the toilet, looking at it what is a sexual connotation, which is tied to the profound truth that though he was not just on street corners shouting: Do not need anything there to look, this is not art! So for much of modern art should say thanks to art critics ...

[Glasha]

Meister, I was actually about the same, the consequences ..

  "And what if Oily liked ?"....: p.. "Naked"?
Maybe award nominees Kandinsky talked to our kids .. or grandchildren?

[Meister]

Yes, I think is still on the road would be gone ... is not he, then another ... and I do not think it would be much later ...