Master of Dadaism! 7 Impressive Works by Marcel Duchamp

Henri-Robert-Marcel Duchamp,was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.Duchamp 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.

Duchamp has had an immense impact on twentieth-century and twenty first-century art, and he had 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" art, intended only to please the eye. Instead, Duchamp wanted to use art to serve the mind.

fountain, is one of Duchamp's most famous works and is widely seen as an icon of twentieth-century art. The original, which is lost, consisted of a standard urinal, usually presented on its back for exhibition purposes rather than upright, and was signed and dated 'R. Mutt 1917'.

Tate's work is a 1964 replica and is made from glazed earthenware painted to resemble the original porcelain. The signature is reproduced in black paint. Fountain has been seen as a quintessential example, along with Duchamp's Bottle Rack 1914, of what he called a 'readymade', an ordinary manufactured object designated by the artist as a work of art (and, in Duchamp's case, interpreted in some way).

This work is an example of what Marcel Duchamp called a "ready-made" sculpture. These were made from ordinary manufactured objects which he then presented as artworks, inviting us to question what makes an object "art".

Is this urinal "art" because it is being presented in a gallery? The original 1917 version of this work has been lost; this is one of a small number of copies that Duchamp allowed to be made in 1964. Do you think it makes a difference that it is not Duchamp's original urinal?

bicycle wheel,

Fresh Widow, 1920, replica 1964, Numerous optical and perceptual themes occupied Duchamp in the period coinciding with his earliest formulations of the transparent The Bride Stripped Bare by her Bachelors Even (The Large Glass) (replica in Tate Gallery T02011). In 1920 Duchamp had a carpenter in New York construct a miniature replica of a standard French-style window. To prevent the viewer seeing through the glass, Duchamp covered each pane with a square panel of black leather which, he insisted, 'should be shined every day like shoes' (Duchamp quoted in D'Harnoncourt and McShine, p.291).

In denying perspective, Fresh Widow plays with tradition. In 1921 Duchamp produced a related work, The Brawl at Austerlitz (Staaatsgalerie Stuttgart), a miniature window set in a brick wall with its panes of glass painted white.Duchamp was interested in optical and perceptual themes, particularly in relation to his work on the transparent The Bride Stripped Bare by her Bachelors Even (The Large Glass) (replica in Tate Gallery T02011).

In 1920, he had a carpenter in New York construct a miniature replica of a standard French-style window. To prevent the viewer seeing through the glass, Duchamp covered each pane with a square panel of black leather. In denying perspective, Fresh Widow plays with tradition. In 1921 Duchamp produced a related work, The Brawl at Austerlitz (Staaatsgalerie Stuttgart), a miniature window set in a brick wall with its panes of glass painted white.

The Large Glass , Richard Hamilton deliberately avoided making an copy that acknowledged its fifty years of ageing and deterioration. Instead, he set out to make it as it was conceived, accepting that it would similarly change to some extent with the passage of time.

Rather than simply working from photographs of the completed work, Hamilton used the notes and drawings of The Green Box to closely follow Duchamp’s original process of creation. By doing this, thirteen years of work were compressed into nearly as many months. As Hamilton recalled after finishing the project, ‘mental effort was exerted only in the direction of detective work, deductions from signs marking a path to be followed – the creative anguish was erased from the trail’.

When Duchamp came to London for the opening of his exhibition in 1966, he agreed to sign the reconstruction and the four glass studies produced by Hamilton, inscribing on the back ‘pour copie conforme’ (‘for a faithful replica’).

Why not Sneeze, Rose Sélavy? , It consists of a metal bird cage with a perch, 152 white square marbles simulating sugar cubes, a thermometer, a calf bone and a small porcelain plate. "Rose Saravi" was taken from Du Xiang's feminine pseudonym, under which he signed several works.There are several reproductions of this work, all by Du Xiang, but only the original marble has the words "Made in France" printed on it.

The original is currently on display at the Philadelphia Museum of Art."Why don't you just smack all of them, Rose Si?? The hot and cold changes prompted by the title "Looking for Life" create an appealing effect.

Surrealism East commented on this work by André Breton, the founder of Surrealism:There was once a bird cage in the Duxiang cage for us to see. Du Xiangyin is a great piece of work. More so to speak of all works.

The Large Glass, or The Bride Stripped Bare by Her Bachelors, Even, is a work by Marcel Duchamp. 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.

It 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 Bottle Rack 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 original piece was mistaken as rubbish due to its appearance, and was thrown out by Duchamp's sister and stepsister after the artist left France in 1914 for the US. While the original no longer survives, the legacy of the work lives on, with at least seven replicas residing in prominent museums, such as the Philadelphia Museum of Art, the Norton Simon Museum, and the Moderna Museet. Without any actual modifications by the artist, the Bottle Rack is iconic for being Duchamp's first, "true" readymade. While Duchamp asserted that his readymades were done without any specific reason, art critics contend that the piece has sexual undertones of a Freudian nature.

Critics suggest that the metal spikes represent the male genitalia and that the absence of bottles is a reference to Duchamp being a bachelor at the time, a theme they claim is repeatedly conveyed throughout his works.

summary:

I don't quite understand the true meaning of the fountain, maybe it's because I want to refute the performance of the art itself? Other works are also excellent, and the names are also very sci-fi. I like the relationship between his name and his works, which is very interesting; most of the paintings, The light and shadow he captures show a very unique three-dimensional sense, and he likes to combine many different dimensional surfaces, much like Picasso's object orientation, which will make people want to look at the worldview in his paintings for a longer time.

Although Dada art wants to deny art itself, They believed that art had become too commercialized. They wanted to make people resist what they saw as the false values of the world, this makes the world think along the way, which is the value and meaning of art itself.