Dadaism - I
DADAISM
While it is difficult to say exactly who coined the term Dada, since each member of the group claimed that honor for himself, the uncontested birthplace of the movement is Zurich. Several Germans had become refugees in that city during the First World War, including the poet Hugo Ball and his companion Emmy Hennings. On February 5, 1916, they opened a literary and artistic cabaret, the Cabaret Voltaire. A few days later, Ball and Richard Huelsenbeck, a fellow German; Romanian émigrés Tristan Tzara and Marcel Janco; and the Alsatian Jean Arp gave birth to the Dada movement. In May 1916, the word Dada appeared in print for the first time, in the “literary and artistic collection” published in Zurich by Hugo Ball, entitled Cabaret Voltaire. That same year, a Dada collection had its debut with two works, Mr. Antipyrine’s First Celestial Adventure, by Tristan Tzara, and Fantastic Prayers, by Richard Huelsenbeck, the latter with illustrations by Jean Arp. A Dada gallery was founded in Zurich in March 1917.
The Dada movement was marked more than anything else by the personality of Tzara, who gave it its true theoretical expression, particularly in the Dadaist Manifesto published in 1918. It was Tzara too who, after moving to Paris in 1919, did everything to publicize it in international avant-garde milieux. He did not avoid provocations and scandals; on the contrary. Dada was antitradition, antilogic, antiinstitutions; in short, antieverything. That attitude was what caused, after a period of joint delirium, the break between Tzara and André Breton who, with his adherents, founded a constructive movement: Surrealism.
Francis Picabia, who lived in Zurich during 1919, is responsible for Dada’s impact on the arts. That impact is also due in large part to the iconoclasm of Marcel Duchamp. In Germany much more than in France, Dadaism was manifested by political opposition and by certain techniques, such as collage (Max Ernst in Cologne, and Johannes Baargeld’s revue Der Ventilator, and photomontage (John Heartfield and Raoul Hausmann).
The Dada movement died out around 1923. But after 1945 it reappeared in the United States and Germany under different forms, through the influence of Marcel Duchamp: Pop Art, Fluxus, the Happening, and anti-art are all reminiscent of Dadaist provocations.
DADA SPRINGS UP AT THE CABARET VOLTAIRE
Marcel Słodki. Cabaret-Voltaire-poster, 1916
Hugo Ball performing at Cabaret Voltaire in 1916
Baroness Elsa von Freytag-Loringhoven in her Greenwich Village home, New York, December 1915. Courtesy: Corbis; photography: unknown
The sight of a cannon every thirty feet for forty miles was one never seen before. When the German troops launched the battle of Verdun at dawn on Februaiy 21. Allied fliers reported that the horizon was one long line of fire. Then the ground began to tremble under the explosion of shells. Sixty thousand victims of the slaughter fell in a single day.
While Europe is undergoing the horrors of war, Switzerland, in the center of the conflict, is watching others fight. In Zurich, a handful of young people from several countries do not hesitate to proclaim loudly that there is something better to do than kill each other. They meet every night at the Cabaret Voltaire at Spiegelgasse 1, a narrow paved alley in the old city. And there, far from the battlefields, they recite, sing, and organize dance exhibitions under the enigmatic name of Dada, to the amazement of the well-meaning Protestant
citizens from the banks of the Limmat River.
A demobilized German, Hugo Ball, who is simultaneously a poet, stage producer, anarchist, Catholic, mystic, and pacifist, founded the Cabaret Voltaire with his companion Emmy Hennings, who, like himself, is an immigrant from Germany. They were joined by the Alsatian Jean Arp, who had no desire to die for the Kaiser, and by Sophie Taeu-ber, a teacher at the School of Decorative Arts in Zurich.
Because her school prohibits appearances on stage at Spiegel-gasse under penalty of dismissal, she participates in shows with her face hidden by a mask. There are others: the poet Richard Huelsenbeck and two Romanians, the painter Marcel Janco and Tristan Tzara. At twenty years of age, Tzara is the youngest of them all. His father has sent him to Switzerland to study engineering at the State Polytechnical School, but his only passion is for poetry.
The opening ceremonies of the Cabaret Voltaire were held on February 5, shortly before the beginning of the battle of Verdun. Artists and students from both sides, revolutionaries in exile, passing tourists, international swindlers, faith healers, spies, and other questionable characters were on hand to witness a spectacle such as had never been seen before. After February 5, the Dadaist evenings of the Cabaret Voltaire never stopped attracting a captivated public.
One of the exciting events was the Great Sabbath, hosted by Arp, Tzara, Janco, Ball, and their colleagues. Laughter and shouts from the spectators were responses to the sighs of love, the outbreaks of hiccups, the sound-effect poems composed of “wa־was” and "meows” coming from the stage. There was a large drum to support the proceedings. Also, a handsome demonstration of "phonetism” presented by Hugo Ball in “Karawane”: "Jolifanto bambla o bambla, grossiga m’pfa habla horem egega goramen ...” The anarchist poet was sliding around for the occasion in a large geometric cardboard form. There was also the simultaneous recitation of “The admiral is looking for a house to rent,” which combined the German voice of Huelsenbeck, the English of Janco, and the French of Tzara, with musical support from whistles.
Elsewhere in Europe, on all fronts, there were the voices of the generals in their different languages, sending the generation of young to be killed with cracks of gunfire and the thunder of cannon. This was not very different from what was going on at the Cabaret Voltaire, except for the slight difference that the outcries and noises there were a denunciation of the war.
Dada is, in effect, a revolt. Tristan Tzara is thus able to proclaim in the Manifesto of Mr. Antipyrin: “Art is not serious.” To denounce dangerous choices in a society too sure of itself and at the same time to put on trial all arts that have hitherto failed in their task of creating values capable of launching the mind in new directions, that is what all the members of Dada want to be understood by their evening follies in Zurich.
The name of the movement appeared for the first time in June in the first issue of Cabaret Voltaire. The founders of the cabaret did not dream at the outset of grouping themselves together under a common label. However, Hugo Ball very soon developed the idea of collecting and unifying the different activities of their faithful painter, poet, and sculptor friends of Spiegelgasse.
MARCEL JANCO: CABARET VOLTAIRE. 1916
On stage, from left to right: Hugo Ball (at the piano), TristanTzara,
Jean Arp, Richard Huelsenbeck, Marcel Janco, Emmy Hennings, Friedrich Glauser.
Grand opening of the first Dada exhibition: International Dada Fair, Berlin, 5 June 1920. The central figure hanging from the ceiling was an effigy of a German officer with a pig's head. From left to right: Raoul Hausmann, Hannah Höch (sitting), Otto Burchard, Johannes Baader, Wieland Herzfelde, Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), George Grosz and John Heartfield.
Hans Arp, Tristan Tzara, Hans Richter in front of the Hotel Elite, Zurich.
Jean Crotti
1878 –1958
Jean Crotti
(24 April 1878 – 30 January 1958) was a French painter.
Crotti was born in Bulle, Fribourg, Switzerland. He first studied in Munich, Germany at the School of Decorative Arts, then at age 23 moved to Paris to study art at the Académie Julian. Initially he was influenced by Impressionism, then by Fauvism and Art Nouveau. Around 1910 he began to experiment with Orphism, an offshoot of Cubism, and a style that would be enhanced by his association in New York City with Marcel Duchamp and Francis Picabia.
A refugee from World War I, he looked to America as a place where he could live and develop his art. In New York, he shared a studio with Marcel Duchamp and met his sister, Suzanne Duchamp. She was part of the Dada movement in which Crotti would become involved. In 1916, he exhibited Orphist-like paintings, several of which had religious titles that also included his Portrait of Marcel Duchamp and his much discussed Les Forces MÈcaniques de l'amour Mouvement, created by using found objects.
In the fall of 1916, Crotti separated from his wife, Yvonne Chastel, and returned to Paris. He had begun a relationship with Suzanne Duchamp that would culminate in his divorce in 1919 and immediate marriage to Suzanne. An artist in her own right, she would greatly influence Jean Crotti's painting. In 1920, he produced one of his best known works, a portrait of Thomas Edison. He would be part of the 1925 Exposition International in Paris, and the International Exhibition of Modern Art at the Brooklyn Museum in 1926 - 1927. Over the ensuing years, he would create numerous paintings and be the subject for several solo exhibitions at major galleries in England, France, Germany, and the United States.
Crotti died in Paris.
Jean Crotti, 1915, Portrait of Marcel Duchamp (Sculpture made to measure)
Jean Crotti, 1916, L'harmonie nait du chaos
JEAN CROTTI
"ATTENTIVE AUX VOIX INTERIEURES"
1920
Jean Crotti
L'homme dans la foule, 1930
JEAN CROTTI
"ARLEQUIN"
1928
Jean Crotti
Poésie sentimentale, 1920
Jean Crotti
Vision Tabu, 1921
Jean Crotti
Cosmic Journey
Francis Picabia
1879 – 1953
Francis Picabia (22 January 1879 – 30 November 1953) was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism. His highly abstract planar compositions were colourful and rich in contrasts. He was one of the early major figures of the Dada movement in the United States and in France. He was later briefly associated with Surrealism, but would soon turn his back on the art establishment.
Francis Picabia, Horses, 1911
Francis Picabia, 1912, La Source (The Spring)
Francis Picabia, The Dance at the Spring, 1912
Francis Picabia, Catch as Catch Can, 1913
Francis Picabia, 1913, Udnie (Young American Girl, The Dance)
Francis Picabia, Star Dancer on a Transatlantic Steamer, 1913
Francis Picabia,
(Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915;
(center) Portrait d'une jeune fille américaine dans l'état de nudité, 5 July 1915:
(right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin,
New York, 1915
Francis Picabia, Machine Turn Quickly, 1916–1918
Francis Picabia, Réveil Matin (Alarm Clock), Dada 4–5, Number 5, 15 May 1919
Francis Picabia, Dada
Francis Picabia, Portrait of Cézanne, Portrait of Renoir, Portrait of Rembrandt, 1920,
Toy monkey and oil on cardboard
Francis Picabia, La Sainte Vierge (The Blessed Virgin), 1920
Francis Picabia, 1921, L'oeil cacodylate
Francis Picabia, 1921, L'oeil cacodylate
Francis Picabia, Espagnole et agneau de l'apocalypse, c. 1927–28
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia, Hera, 1929
Francis Picabia, Ligustri, ca. 1929
Francis Picabia, Atrata, ca. 1929
Francis Picabia, Melibée, 1931
Francis Picabia, Medea, ca. 1929
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Francis Picabia. Elusive Transparencies
Morton Schamberg
1881 – 1918
MORTON SCHAMBERG. GOD. 1918. Philadelphia. Museum of Art
Morton Livingston Schamberg
(October 15, 1881 – October 13, 1918) was an American modernist painter and photographer. He was one of the first American artists to explore the aesthetic qualities of industrial subjects. Schamberg is considered a pioneer of the Precisionism art movement, and one of the first American adopters of Cubist style.
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Telephone (1916).
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Painting (formerly Machine), 1916
Painting IV (Mechanical Abstraction), 1916
Painting VIII (Mechanical Abstraction), 1916
Study for "The Well", c. 1916
Jean Arp
1886 – 1966
Hans Peter Wilhelm Arp
Hans Peter Wilhelm Arp
(16 September 1886 – 7 June 1966)
Sculptor, painter and poet Jean Arp, alternatively known as Hans Arp, was born in 1886 in Strassburg, Germany, but raised in Alsace, France. Showing an early proclivity for the arts, Arp began his artistic training in 1900 near his hometown before going on to study in Weimar, Germany, and later enrolling at the Académie Julian in Paris in 1908. The following year he moved to Switzerland, where he founded Der Moderner Bund (The Modern Alliance), an early indication of his investment in the avant-garde modernist movement of the early 20th century. Through his travels over the following years, Arp became acquainted with fellow avant-garde artists working in Europe, including Robert and Sonia Delaunay, Wassily Kandinsky, Amadeo Modigliani and Pablo Picasso, among others.
In 1916, at the height of the First World War, Arp established a residence in Zurich, Switzerland, where he pioneered the Dada movement alongside artists Tristan Tzara and Marcel Janco – all of whom famously met at the Cabaret Voltaire. Though the expression of Dadaism ranged across mediums, the primary tenant of the movement was to ridicule or criticize the meaninglessness of the modern world – inspired in part by the ravages of the War – resulting in often non sequitur or seemingly incoherent works. Around this time, Arp’s artistic practice consisted primarily of collaging and making tapestries – the latter of which were often made in collaboration with Sophia Taeuber (later Sophie Taeuber-Arp, following their marriage in 1922). He also experimented with painting on wood, creating layers of shapes that were inspired by organic forms and creating sculpture.
Following the end of the War, the Arps eventually settled in Meudon just outside of Paris. During this period, Arp became acquainted with the Surrealist groups working in the city, leading to his “torn papers” series, which was based off the Surrealist notion of artistic creation by way of chance. By 1931, however, he became absorbed with Constructivism, which offered a more rational, concrete philosophy than Surrealism, leading him to create his first hard-edge abstractions.
The outbreak of World War II saw the Arps return to Zurich for a brief time; his wife died there in 1943, just before Arp returned to Meudon. He continued creating art in an experimental fashion for the rest of his career, as well as writing poetry and essays. He also further developed his practice with sculpture, making abstract, smooth line pieces that reflected the culmination of his involvement with a variety of early 20th century artistic movements. Arp experienced great success in the final years before his death in 1966; he was awarded the Grand Prize for Sculpture at the 1954 Venice Biennale and was the subject of major retrospectives at the Museum of Modern Art, New York, in 1958, and at the Musée National d’Art Moderne in Paris in 1962.
JEAN ARP
HEAD OF TZARA. 1916
JEAN ARP
Abstract Composition
1915.
JEAN ARP
LION. 1916
Jean Arp, Collage Arranged According to the Laws of Chance, 1916-17.
JEAN ARP
Elementary Construction, 1916.
Raoul Hausmann
1886 – 1971
Raoul Hausmann
(July 12, 1886 – February 1, 1971) was an Austrian artist and writer. One of the key figures in Berlin Dada, his experimental photographic collages, sound poetry, and institutional critiques would have a profound influence on the European Avant-Garde in the aftermath of World War I.
Raoul Hausmann was born in Vienna but moved to Berlin with his parents at the age of 14, in 1901. His earliest art training was from his father, a professional conservator and painter. He met Johannes Baader, an eccentric architect and another future member of Dada, in 1905. At around the same time he met Elfride Schaeffer, a violinist, whom he married in 1908, a year after the birth of their daughter, Vera. That same year Hausmann enrolled at a private Art School in Berlin, where he remained until 1911.
After seeing Expressionist paintings in Herwarth Walden's gallery Der Sturm in 1912, Hausmann started to produce Expressionist prints in Erich Heckel's studio, and became a staff writer for Walden's magazine, also called Der Sturm, which provided a platform for his earliest polemical writings against the art establishment. In keeping with his Expressionist colleagues, he initially welcomed the war, believing it to be a necessary cleansing of a calcified society, although being an Austrian citizen living in Germany he was spared the draft.
Hausmann met Hannah Höch in 1915, and embarked upon an extramarital affair that produced an 'artistically productive but turbulent bond' that would last until 1922 when she left him. The relationship's turmoil even reached the point where Hausmann fantasized about killing Höch. He talked down to her about her opinions on everything from politics to art, and only came to her aid when the other artists of the Dada movement tried to exclude her from their art shows. Even after defending her art and arguing for its inclusion in the First International Dada Fair, he went on to say Höch "was never part of the club." Though Hausmann repeatedly told Höch that he was going to leave his wife to be with her, he never did.
In 1916 Hausmann met two more people who would become important influences on his subsequent career; the psychoanalyst Otto Gross who believed psychoanalysis to be the preparation for revolution, and the anarchist writer Franz Jung. By now his artistic circle had come to include the writer Salomo Friedlaender, Hans Richter, Emmy Hennings and members of Die Aktion magazine, which, along with Der Sturm and the anarchist paper Die Freie Straße published numerous articles by him in this period.
'The notion of destruction as an act of creation was the point of departure for Hausmann's Dadasophy, his theoretical contribution to Berlin Dada.'
Raoul Hausmann
Selbstportrait
Raoul Hausmann
Mechanischer Kopf
(Tête mécanique)
[1919]
Raoul Hausmann
The Art Critic
1919–20
Raoul Hausmann
ABCD (Self-portrait) A photomontage from 1923–24
Raoul Hausmann
Selbstbildnis als dadasoph (Self-Portrait of the Dadasoph - Autoportrait du Dadasoph),
1920
Raoul HAUSMANN. Tatlin lebt zu Hause, 1920
Raoul Hausmann
Dada
Raoul Hausmann
Dada
Raoul Hausmann
Dada
Raoul Hausmann, Tatlin at Home, photomontage, 1920.
Raoul Hausmann: «Triunfos Dadá» (Dada Wins!), 1920
Raoul Hausmann
Dada
Raoul Hausmann
Dada
Raoul Hausmann
Dada
Kurt Schwitters
1887 – 1948
Kurt Schwitters, untitled
Kurt Schwitters
(b Hannover, 20 June 1887; d Kendal, Westmorland, England, 8 Jan 1948).
German painter, sculptor, designer and writer. He studied at the Kunstakademie in Dresden (1909–14) and served as a clerical officer and mechanical draughtsman during World War I. At first his painting was naturalistic and then Impressionistic, until he came into contact with Expressionist art, particularly the art associated with Der Sturm, in 1918. He painted mystical and apocalyptic landscapes, such as Mountain Graveyard (1912; New York, Guggenheim), and also wrote Expressionist poetry for Der Sturm magazine. He became associated with the DADA movement in Berlin after meeting Hans Arp, Raoul Hausmann, Hannah Höch and Richard Huelsenbeck, and he began to make collages that he called Merzbilder. These were made from waste materials picked up in the streets and parks of Hannover, and in them he saw the creation of a fragile new beauty out of the ruins of German culture. Similarly he began to compose his poetry from snatches of overheard conversations and randomly derived phrases from newspapers and magazines. His mock-romantic poem An Anna Blume, published in Der Sturm in August 1919, was a popular success in Germany. From this time ‘Merz’ became the name of Schwitters’s one-man movement and philosophy. The word derives from a fragment of the word Kommerz, used in an early assemblage (Merzbild, 1919), for which Schwitters subsequently gave a number of meanings, the most frequent being that of ‘refuse’ or ‘rejects’. In 1919 he wrote: ‘The word Merz denotes essentially the combination, for artistic purposes, of all conceivable materials, and, technically, the principle of the equal distribution of the individual materials .... A perambulator wheel, wire-netting, string and cotton wool are factors having equal rights with paint’; such materials were indeed incorporated in Schwitters’s large assemblages and painted collages of this period, for example Construction for Noble Ladies (1919; Los Angeles, CA, Co. Mus. A.). Schwitters’s essential aestheticism and formalism alienated him from the political wing of German Dada led by Huelsenbeck, and he was ridiculed as ‘the Caspar David Friedrich of the Dadaist Revolution’. Although his work of this period is full of hints and allusions to contemporary political and cultural conditions, unlike the work of George Grosz or John Heartfield it was not polemical or bitterly satirical. Schwitters’s ironic response to what he saw as Huelsenbeck’s political posturing was the extraordinary absurd story ‘Franz Mullers Drahtfrühling, Ersters Kapitel: Ursachen und Beginn der grossen glorreichen Revolution in Revon’ published in Der Sturm (1922), in which an innocent bystander starts a revolution merely by being there. Another more macabre story, ‘Die Zwiebel’ (Der Sturm, x/7, 1919), underlines Schwitters’s romantic view of the artist as sacrificial victim and spiritual leader, a notion likewise quite antipathetic to Huelsenbeck’s dialectical materialism and scorn of bourgeois categories.
Kurt Schwitters, Gute Aussicht
Kurt Schwitters, Cherry Picture 1921
Kurt Schwitters, Hitler Gang 1944
Kurt Schwitters, Mit Madonna und Engeln
Kurt Schwitters, Merzbild 1A (El alienista)
Kurt Schwitters, Merzbild Rossfett, c. 1919, Assemblage
Kurt Schwitters, For Kate, 1947, Collage
Kurt Schwitters, untitled
Kurt Schwitters, untitled
Kurt Schwitters, Merzbild - fur Alf Gaudenzi
Kurt Schwitters, Mit grober Kreuzspinne
Marcel Duchamp
1887 – 1968
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MARCEL DUCHAMP: BICYCLE WHEEL 1913
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MARCEL DUCHAMP
Henri-Robert-Marcel Duchamp (28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. He is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He has had an immense impact on 20th- and 21st-century art, and a seminal influence on the development of conceptual art. 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.
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Jean Crotti, 1915, Portrait of Marcel Duchamp (Sculpture made to measure), mixed media. Exhibited Montross Gallery 4–22 April 1916, New York City. Sculpture lost or destroyed
MARCEL DUCHAMP:
GIVEN (1) THE WATERFALL. (2) THE ILLUMINATING GAS. 1946-1966.
Philadelphia. Museum of Art
Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas, French: Étant donnés: 1° la chute d'eau / 2° le gaz d'éclairage) is Marcel Duchamp's last major artwork, which surprised the art world because it believed he had given up art for competitive chess which he had been playing for almost 25 years, following a prolific art career. He had been making work with the Surrealists when he made The Bride Stripped Bare by Her Bachelors, Even (also known as The Large Glass). This work is a tableau, visible only through a pair of peepholes (one for each eye) in a wooden door, of a nude woman lying on her back with her face hidden, legs spread, holding a gas lamp in the air in one hand against a landscape backdrop.
Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio. It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp's girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure's arm. Duchamp prepared a "Manual of Instructions" in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.
Study for "Given: 1. The Waterfall, 2. Illuminating Gas"
Marcel Duchamp
c.1949
Marcel Duchamp, Fountain, 1917, photograph by Alfred Stieglitz at 291 art gallery following the 1917 Society of Independent Artists exhibit, with entry tag visible. The backdrop is The Warriors by Marsden Hartley.
'Fountain' by Marcel Duchamp (replica), Scottish National Gallery of Modern Art, Edinburgh
MARCEL DUCHAMP: ROTATIVE GLASS PLATES. 1920. New Haven. Yale University Art Gallery
Motorized optical device: Five glass plates with black designs form continuous circles when turning on a motor-driven axis.
Marcel Duchamp, 1919, L.H.O.O.Q.
Marcel Duchamp: The Bride Stripped Bare by Her Bachelors, Even
(The Large Glass)
MARCEL DUCHAMP:
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass).1915-1923 Philadelphia. Museum of Art
THE BRIDE'S SECRET
To the unprepared viewer The Bride Stripped Bare by Her Bachelors may seem difficult to understand at first, yet it follows a strict symbolism. This symbolism is concerned with events in Duchamp's childhood, but also, and mainly, with general archetypes. In many ways, this work stems from a mystical and alchemic inspiration, and this is, precisely, its secret. The diagram below lists its principal themes.
THE BRIDE'S DOMAIN (upper glass panel)
I. The Bride.
2. The Bride's clothes.
3. Cooler.
4. Horizon.
5. Inscription from above (Milky Way).
6. Air-draft piston (or filament).
7. Nine shoots.
8. Area where shadows are cast.
9. Area where the image of the sculpture of droplets is reflected.
10. Gravity handler.
THE BACHELORS' DOMAIN (ower glass panel)
II. Nine male-like molds (or Eros Matrices that form the cemetery of uniforms and liveries).
11a-11i. The nine Bachelors.
12. Capillary vessels.
13. Waterfall area.
14. Water mill.
14a. Drive wheel of the mill.
14b. Chariot.
14c. Slide.
15. Chocolate grinder.
15a. Chassis Louis Quinze.
15b. Roller.
15c. Cravat.
15d. Bayonet.
15e. Scissors.
16. Sieve.
17. Butterfly-pump area.
18. Toboggan.
19. Area with three splashes.
20. Free weights with nine holes.
21. Oculist witnesses.
21a-21c. Oculist's charts.
21d. Site where a lens should have been.
22. Fighting log.
23. Boxing match.
23a. First ram.
23b. Second ram.
24. Area with a sculpture of droplets.
25. Area of the Wil-son-Lincoln effect.
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass).
1915-1923
Oil, varnish, lead foil, lead wire, and dust on two glass panels
The Bride Stripped Bare by Her Bachelors, Even (La mariée mise à nu par ses célibataires, même), most often called The Large Glass (Le Grand Verre), is an artwork by Marcel Duchamp over 9 feet (2.7 m) tall and almost 6 feet (1.76m) wide. Duchamp worked on the piece from 1915 to 1923 in New York City, creating two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. Duchamp's ideas for the Glass began in 1912, and he made numerous notes and studies, as well as preliminary works for the piece. The notes reflect the creation of unique rules of physics, and myth which describes the work.
The Bride Stripped Bare by Her Bachelors, Even is also the title given to The Green Box notes (1934) as Duchamp intended the Large Glass to be accompanied by a book, in order to prevent purely visual responses to it. The notes describe that his "hilarious picture" is intended to depict the erotic encounter between the "Bride", in the upper panel, and her nine "Bachelors" gathered timidly below in an abundance of mysterious mechanical apparatus in the lower panel.[2] The Large Glass was exhibited in 1926 at the Brooklyn Museum before it was broken during transport and carefully repaired by Duchamp. It is now part of the permanent collection at the Philadelphia Museum of Art. Duchamp sanctioned replicas of The Large Glass, the first in 1961 for an exhibition at Moderna Museet in Stockholm and another in 1966 for the Tate Gallery in London. The third replica is in Komaba Museum, University of Tokyo.
The Large Glass consists of two glass panels, suspended vertically and measuring 109.25 in × 69.25 in (277.5 cm × 175.9 cm). The entire composition is shattered, but it rests sandwiched between two pieces of glass, set in a metal frame with a wooden base. The top rectangle of glass is known as the Bride's Domain; the bottom piece is the Bachelors' Apparatus. It consists of many geometric shapes melding together to create large mechanical objects, which seem to almost pop out from the glass and ever-changing background.
Marcel Duchamp Playing Chess with Eve Babitz
Duchamp Playing Chess with a Nude (Eve Babitz)
Marcel Duchamp Playing Chess with Eve Babitz
Chess Match, Duchamp scratching nose, Duchamp Retrospective
Duchamp Playing Chess with a Nude (Eve Babitz)
Marcel Duchamp Playing Chess with Eve Babitz
MARCEL DUCHAMP: NETWORK OF STOPPAGES. 1914. New York. Private Collectio
MARCEL DUCHAMP: GLIDER CONTAINING A WATER MILL IN NEIGHBORING METALS.
1913-1915. Philadelphia. Museum of Art
Five-Way Portrait of Marcel Duchamp, 21 June 1917, New York City
Marcel Duchamp, 1918, A regarder d'un oeil, de près, pendant presque une heure, To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour. Photograph by Man Ray, published in 391, July 1920 (N13), Museum of Modern Art, New York
To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour. 1918
Oil, silver leaf, lead wire, and magnifying lens on glass (cracked),
mounted between panes of glass in a standing metal frame
Marcel Duchamp, Molinillo de chocolate nº 1. 1913
Marcel Duchamp, Molinillo de chocolate nº 2. 1913
Duchamp, Marcel. Tu m’. 1918. Oil on canvas, with bottlebrush, safety pins, and bolt. Gift of the Estate of Katherine S. Dreier. Yale university Art Gallery, New Haven, Connecticut.
Nude Descending a Staircase, No. 2
(French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912. The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.
Nude Descending a Staircase, No. 2 was reproduced by Guillaume Apollinaire in his 1913 book, Les Peintres Cubistes, Méditations Esthétiques. It is now in the Louise and Walter Arensberg Collection of the Philadelphia Museum of Art.
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Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2)
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Corresponding still photos by Eadweard Muybridge
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Marcel Duchamp Walking down Stairs in exposure of Famous Painting "Nude Descending a Staircase"
by Eliot Elisofon
The Bottle Rack
(also called Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) is a proto-Dada artwork created in 1914 by Marcel Duchamp. Duchamp labeled the piece a "readymade", a term he used to describe his collection of ordinary, manufactured objects not commonly associated with art. The readymades did not have the serious tone of European Dada works, which criticized the violence of World War I, and instead focused on a more nonsensical nature, chosen purely on the basis of a "visual indifference".
The Art Institute of Chicago purchased one of the replicas of Bottle Rack in 2018.
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Bottle Dryer (Bottlerack)
1914
Marcel Duchamp
Marcel Duchamp Playing Chess
Marcel Duchamp directs a life-size chess game
Marcel Duchamp and Robert Dreschman
Marcel Duchamp and Man Ray play chess on the roof of the Théâtre des Champs Elysées in Paris
Marcel Duchamp, Larry Evans et Hans Richter preparant une scène pour Passionate pastime
A minimalist portrait of Marcel Duchamp holding connected to an ancient chess machine in the style of Annie Leibovitz
“I am still a victim of chess. It has all the beauty of art – and much more. It cannot be commercialized. Chess is much purer than art in its social position.”
Marcel Duchamp
A minimalist portrait of Marcel Duchamp holding connected to an ancient chess machine in the style of Annie Leibovitz, Irving Penn, Hito Steyerl, Shinya Tsukamoto, Saâdane Afif, Alfredo Jaar line drawing and 35mm film, wide angle, monochrome, futuristic tetsuo
A minimalist portrait of Marcel Duchamp holding connected to an ancient chess machine in the style of Annie Leibovitz, Irving Penn, Hito Steyerl, Shinya Tsukamoto, Saâdane Afif, Alfredo Jaar line drawing and 35mm film, wide angle, monochrome, futuristic tetsuo
A minimalist portrait of Marcel Duchamp holding connected to an ancient chess machine in the style of Annie Leibovitz, Irving Penn, Hito Steyerl, Shinya Tsukamoto, Saâdane Afif, Alfredo Jaar line drawing and 35mm film, wide angle, monochrome, futuristic tetsuo
A minimalist portrait of Marcel Duchamp holding connected to an ancient chess machine in the style of Annie Leibovitz, Irving Penn, Hito Steyerl, Shinya Tsukamoto, Saâdane Afif, Alfredo Jaar line drawing and 35mm film, wide angle, monochrome, futuristic tetsuo
Portrait of Yvonne Duchamp
Marcel Duchamp
c.1907
Chess Game
Marcel Duchamp
1910;
Paradise, Adam and Eve
Marcel Duchamp
c.1910
Two Nudes
Marcel Duchamp
1910
Baptism
Marcel Duchamp
1911
Portrait of Chess Players
Marcel Duchamp
1911
The Bush
Marcel Duchamp
c.1911
Bride
Marcel Duchamp
1912
King and Queen surrounded by swift nudes
Marcel Duchamp
1912
Genre Allegory (George Washington)
Marcel Duchamp
1943
Apolinere Enamelled
Marcel Duchamp
1916
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
MARCEL DUCHAMP:
THE BOX. 1938. Paris.
Suzanne Duchamp-Crotti
1889 – 1963
Suzanne Duchamp-Crotti
(20 October 1889 – 11 September 1963) was a French Dadaist painter, collagist, sculptor, and draughtsman. Her work was significant to the development of Paris Dada and modernism and her drawings and collages explore fascinating gender dynamics. Due to the fact that she was a woman in the male prominent Dada movement, she was rarely considered an artist in her own right. She constantly lived in the shadows of her famous older brothers, who were also artists, or she was referred to as "the wife of." Her work in painting turns out to be significantly influential to the landscape of Dada in Paris and to the interests of women in Dada. She took a large role as an avant-garde artist, working through a career that spanned five decades, during a turbulent time of great societal change. She used her work to express certain subject matter such as personal concerns about modern society, her role as a modern woman artist, and the effects of the First World War. Her work often weaves painting, collage, and language together in complex ways.
Self-Portrait
Suzanne Duchamp
Jamian Juliano-Villani, Mixed Up Moods
Jamian Juliano-Villani, Broken and Restored Multiplication, 1918
Solitude entonnoir (Funnel of solitude)
Suzanne Duchamp
1921
Radiation of Two Lone Ones at a Distance
Suzanne Duchamp
1920
Ariette d'oubli de la chapelle étourdie
Suzanne Duchamp
1920