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Marcel Duchamp

Marcel Duchamp

French sculptor, 1887-1968

French painter, sculptor, and theorist whose work and ideas have served as a starting point for a conceptual approach to art. By refusing to accept the standards and practices of the established art world, Duchamp redefined our understanding of what constitutes an art object. Duchamp was born into a family of artists, and by the age of 15, he turned to painting, executing a series of landscapes in the Impressionist style. From 1910, Duchamp emulated the structural compositions and brushstrokes of C351zanne, and used an intense color palette reminiscent of The Fauves. While living with his brot ...
French painter, sculptor, and theorist whose work and ideas have served as a starting point for a conceptual approach to art. By refusing to accept the standards and practices of the established art world, Duchamp redefined our understanding of what constitutes an art object. Duchamp was born into a family of artists, and by the age of 15, he turned to painting, executing a series of landscapes in the Impressionist style. From 1910, Duchamp emulated the structural compositions and brushstrokes of C351zanne, and used an intense color palette reminiscent of The Fauves. While living with his brother in Puteaux, a suburb of Paris, Duchamp came in contact with a host of avant-garde writers and poets, notably L351ger, Apollinaire, and Kupka, and as a result his painting shifted to incorporate the fragmented style of Cubism. This exposure to Cubism, along with his interest in the photographic sequences of Eadweard Muybridge resulted in the work, 'Nude Descending a Staircase No. 2' (1912). Duchamp tried to show the work at the Salon des Indep351ndants in Paris, but the title, inscribed on the canvas, was objected to and he withdrew his submission. When it was shown at the Armory Show in New York in 1913, the work gained critical opposition and his name and reputation became forever associated with it. In 1913, Duchamp began to abandon the traditional tools and techniques of painting, attempting to elevate art and the art making process above the purely visual and commercial. During this time, he came in contact with the writing of obscure German philosopher Max Stirner, who believed that the right of an individual was to be held supreme, considered above and beyond the needs of society. It is believed that Duchamp took that notion and applied it to the art object, investigating the possibility of making works of art that were not motivated by aesthetic conditions. It was during this time that he created 'Bicycle Wheel,' a work created from an inverted bicycle wheel mounted to the seat of a stool. This was one of the first of what he referred to as a 'ready-made,' a work of art that is deemed so simply through the selection of the artist. In 1915, Duchamp created 'The Bride Stripped Bare by Her Bachelors, Even' (1915-1923) comprised of two large sheets of painted glass in two sections. The 'Bride,' an anthropomorphic shape, is confined to he top section, and 'the bachelors,' a composite machine made from a glider and a chocolate grinder at the bottom. The work explores themes of sexual opposition, geometry, physics, and the existing factors of chance. Accompanying the 'Glass' was a large series of notes, to be consulted as a type of guide. During the teens and 1920s, Duchamp continued to create 'ready-mades,' giving them ambiguous titles. From 1923-1942, excluding brief trips to the USA, he remained in France where his interest in chess became increasingly more important than creating art. He maintained a low profile in the art world, even though he participated in various Dada and Surrealist exhibitions in Paris and New York. From 1942-1968, Duchamp lived in New York. For 22 years he worked on, and kept secret, his final work, 'Etant donn351s: 1 La Chute d'Eau, 2 La Gaz d' 351clairage,' a three-dimensional installation. Duchamp exerted little influence on the work of his contemporaries, but following the installation of his work in the Arensberg Collection in the Philadelphia Museum of Art in 1954, he became a cult figure among the avant-garde, both in Europe and the USA. Subsequently, he has been seen as perhaps the most important figure to affect the shift towards conceptual art in the late 20th century.

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Fountain, 1917/64 (ceramic)
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L.H.O.O.Q., 1919 (colour litho)
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Bicycle Wheel, 1963 (mixed media)
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Nude Descending a Staircase (No.2), 1912 (oil on canvas)
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Fountain, 1950 (replica of 1917 original) (porcelain urinal)
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L.H.O.O.Q, Mona Lisa with moustache, 1930 (colour litho)
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L.H.O.O.Q., 1919 (litho)
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Étant donnés, 1946-66 (mixed media assemblage)
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) 1915-23 (oil, varnish, lead foil, lead wire & dust on glass panel)
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Bottlerack, 1914
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Tu M', 1918 (oil on canvas & mixed media)
Bottlerack, 1914/1964 (galvanized iron)
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Young Man in a Train (oil on canvas)
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50 cc of Paris Air, 1919 (glass ampoule)
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Fresh Widow, 1920/64 (wood, glass & leather)
Bottlerack (replica of 1914 original), 1961 (galvanized iron)
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Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ) 1946-66 (mixed media)
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Marcel Duchamp with a box containing samples of his work, c.1957 (b/w photo)
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Trebuchet (Trap) 1917/64 (mixed media)
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Chocolate Grinder (No. 2) 1914 (oil, graphite & thread on canvas)
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Bottle Dryer, 1914 (steel)
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L.H.O.O.Q. Portrait of Mona Lisa with beard and mustache. 20th century (Ready-made)
Tzanck Cheque, 1919 (ink on paper)
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Hat Rack, 1917/64 (wood)
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Self Portrait in Profile
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Marcel Duchamp with a box containing samples of his work, c.1957 (photo)
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With my Tongue in my Cheek, 1959
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Bride, 1912 (oil on canvas)
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Box in a Valise (Boîte-en-Valise), from or by Marcel Duchamp or Rrose Sélavy (de ou par Marcel Duchamp ou Rrose Sélavy) 1935-41 (mixed media)
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With Hidden Noise, 1916/64 (mixed media)
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L.H.O.O.Q. , Box in a Valise (Boîte-en-Valise), from or by Marcel Duchamp or Rrose Sélavy (de ou par Marcel Duchamp ou Rrose Sélavy) 1935-41 (mixed media)
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Bottle holder, 1914 (Ready made)
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Paris Air, 1919/64 (glass)
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Study for Given: 1. The Waterfall, 2. Illuminating Gas, 1948-9 (collage)
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Rotoreliefs, 1935
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Box in a Valise (Boîte-en-Valise), 1941 (mixed media)
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The Chocolate Grinder, 1914 (oil on canvas)
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Fountain, 1917-1964 (ceramic, glaze and paint)
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L.H.O.O.Q, shaved, 1965 (colour litho)
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Cover of Young Cherry Trees Secured Against Hares, 1946 (hardbound book with paper cover)
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Rotorelief - No.11 - Eclipse Totale, 1935
LHOOQ, 1919 (oil on canvas)
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Cemetery of Uniforms and Liveries (No. 1) 1913 (pencil on tracing paper)
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With Hidden Noise, 1916 (twine, brass & metal screws)
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Objet Dard (Dart Object) (bronze)
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Bicycle Wheel, 1964 (wheel & painted wood)
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Le Bec Auer, 1968 (etching & aquatint on paper)
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Marcel Duchamp posing near a canvas in his studio, c.1957 (photo)
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Objet Dard (Dart Object) (bronze)
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VVV Almanac for 1943, March 1943 (paperbound periodical)
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Front Cover 'The Bride Stripped Bare by her Bachelors, Even - The Green Box, 1934 (mixed media)
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The Blind Man (No.2) May 1917 (litho)
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Young Man and Girl in Spring, 1911 (oil on canvas)
Portrait of Dr. Dumouchel, 1910 (oil on canvas)
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In the way of Delvaux, 1942 (Photographic collage on silver paper)
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Bicycle wheel, 1913 (ready-made)
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News (pen and watercolour), 1908
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Marcel Duchamp (b/w photo)
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View (series V, no.1) March 1945 (colour litho)
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Marcel Duchamp's Fountain (1917), Exhibition at Palazzo Grassi, 1993 (photo)
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Apolinere Enameled, 1916-17/65 (mixed media)
Four Readymades, 1964 (litho)
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Cover for New York Dada, 1921 (offset lithograph)
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Once More to This Star, 1911 (graphite on paper)
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50 cc of Paris Air, 1949 (glass ampoule)
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Cheque signed by Duchamp, Box in a Valise (Boîte-en-Valise) from or by Marcel Duchamp or Rrose Sélavy (de ou par Marcel Duchamp ou Rrose Sélavy) 1935-41 (ink on paper)
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Transition of Virgin into a Bride, 1912, by Marcel Duchamp (1887-1968), oil on canvas, 59x53 cm. France, 20th century.
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Prière de toucher (Please Touch) 1947 (mixed media)
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The Bride Stripped Bare by her Bachelors, Even (The Large Glass) reconstruction in collaboration with Ulf Linde (b.1929) 1961 (mixed media)
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Study for Given: 1. The Waterfall, 2. Illuminating Gas, 1948-9 (collage)
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Manual of Instructions for the Assembly of Etant Donnes, 1966 (vinyl binder with photos, drawings & notes)
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'Why Not Sneeze Rose Sélavy?' La Septième Face du Dé: Poèmes - Découpages, 1936 (litho)
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