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Marcel Duchamp
Henri-Robert-Marcel Duchamp (UK: /ˈdjuːʃɒ̃/, US: /djuːˈʃɒ̃, djuːˈʃɑːmp/; French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French American artist, chess player, and inventor who played a key role in the development of the avant-garde in the United States and in New York City, where he spent the last 25 years of his life. Duchamp was one of the top-ranked chess players in the world during his lifetime and would be considered a 2000-2100 player on the modern USCF rating scale.
Duchamp was the first artist to elevate a toilet to the status of an art form. By the time of World War I, he had rejected the work of many of his fellow artists (such as Henri Matisse) as "retinal," intended only to please the eye. Instead, he wanted to use art to serve the mind. He is commonly regarded, along with Pablo Picasso and Georges Braque, as one of the three artists who helped to establish the post-industrial perspective in art history, and he is considered the progenitor of Conceptual art.
Eugene and Lucie Duchamp had seven children, one of whom died as an infant and four of whom became successful artists: Jacques Villon (1875–1963), painter, printmaker, Raymond Duchamp-Villon (1876–1918), sculptor and Suzanne Duchamp-Crotti (1889–1963), painter, have been the subject of exhibitions alongside Marcel Duchamp. Duchamp was close to his sister Suzanne. At eight years old, Duchamp began schooling at the Lycée Pierre-Corneille, in Rouen. Two other students in his class also became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont. He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes, and the Académie Julian was one of several "independent" academies that sprang up in reaction to the Ecole des Beaux-Arts. In 1905, Duchamp began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his later work.
Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, and the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire—who was eventually to become a friend—criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"), he also prophesized that Duchamp could reconcile art and the people.
During this period, Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art. His painting Sad Young Man on a Train embodies this concern:
First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase.
Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, Chocolate Grinder (Broyeuse de chocolat), prefigures the mechanism incorporated into the Large Glass on which he began work in New York the following year.
Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of the fragmentation and synthesis of the Cubists, as well as the movement and dynamism of the Futurists.
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Marcel Duchamp
Henri-Robert-Marcel Duchamp (UK: /ˈdjuːʃɒ̃/, US: /djuːˈʃɒ̃, djuːˈʃɑːmp/; French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French American artist, chess player, and inventor who played a key role in the development of the avant-garde in the United States and in New York City, where he spent the last 25 years of his life. Duchamp was one of the top-ranked chess players in the world during his lifetime and would be considered a 2000-2100 player on the modern USCF rating scale.
Duchamp was the first artist to elevate a toilet to the status of an art form. By the time of World War I, he had rejected the work of many of his fellow artists (such as Henri Matisse) as "retinal," intended only to please the eye. Instead, he wanted to use art to serve the mind. He is commonly regarded, along with Pablo Picasso and Georges Braque, as one of the three artists who helped to establish the post-industrial perspective in art history, and he is considered the progenitor of Conceptual art.
Eugene and Lucie Duchamp had seven children, one of whom died as an infant and four of whom became successful artists: Jacques Villon (1875–1963), painter, printmaker, Raymond Duchamp-Villon (1876–1918), sculptor and Suzanne Duchamp-Crotti (1889–1963), painter, have been the subject of exhibitions alongside Marcel Duchamp. Duchamp was close to his sister Suzanne. At eight years old, Duchamp began schooling at the Lycée Pierre-Corneille, in Rouen. Two other students in his class also became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont. He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes, and the Académie Julian was one of several "independent" academies that sprang up in reaction to the Ecole des Beaux-Arts. In 1905, Duchamp began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his later work.
Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, and the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire—who was eventually to become a friend—criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"), he also prophesized that Duchamp could reconcile art and the people.
During this period, Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art. His painting Sad Young Man on a Train embodies this concern:
First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase.
Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, Chocolate Grinder (Broyeuse de chocolat), prefigures the mechanism incorporated into the Large Glass on which he began work in New York the following year.
Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of the fragmentation and synthesis of the Cubists, as well as the movement and dynamism of the Futurists.
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