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The Art Story Homepage Artists Marcel Duchamp Art Works

Marcel Duchamp Artworks

French Painter and Sculptor

Marcel Duchamp Photo
Movements and Styles: Cubism, Dada, Surrealism, Conceptual Art

Born: July 28, 1887 - Normandy, France

Died: October 2, 1968 - Neuilly-sur-Seine, France

Artworks by Marcel Duchamp

The below artworks are the most important by Marcel Duchamp - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Nude Descending A Staircase (1912)

Nude Descending A Staircase (1912)

Nude Descending A Staircase initially met with an unfavorable response at the Salon des Indépendants, dominated by the Cubist avant-garde who objected to what they deemed as its Futurist leanings, but enjoyed a succes de scandale at the 1913 Armory Show in New York. More than a study of the body's movement through space, the work is an early figurative exercise in painting cinematically, akin to Eadweard Muybridge's sequences of photographs that anticipated motion pictures. This painting together with the contemporaneous Passage from Virgin to Bride marks the end of Duchamp's short-lived career as a painter.

3 Standard Stoppages (1913-14)

3 Standard Stoppages (1913-14)

Art takes on a scientific guise in this intricate piece whose several component parts are neatly displayed alongside or slotted into a bespoke wooden case. To make this piece, which reads like a visual demonstration of the workings of chance, Duchamp dropped three threads, each exactly one meter long, from a height of one meter. He then carefully recorded the random outline of the fallen thread on canvas, glass and wood. Chance also dictated his choice of title: Duchamp apparently hit upon stoppages, French for the "invisible mending" of a garment, after walking past a shop sign advertising sewing supplies.

The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass (1915-1923)

The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass (1915-1923)

The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass was partly inspired by author Raymond Roussel's use of homophones, words that sound alike but have different meanings. Duchamp frequently resorted to puns and double-meanings in his work.With The Large Glass, he sought to make an artwork that could be both visually experienced and "read" as a text. After attending a performance of Roussel's Impressions d'Afrique, Duchamp envisioned a sculptural assemblage as a stage of sorts. Preliminary studies for this stage, which would have been over nine feet tall, included depictions of an abstracted "bride" being attacked by machine-like figures in chaotic motion. The constructed gadgetry featured between the two glass panels was also likely inspired by Duchamp's study of mathematician Henri Poincare's physics theorems.

Fountain (1917)

Fountain (1917)

The most notorious of the readymades, Fountain was submitted to the 1917 Society of Independent Artists under the pseudonym R. Mutt. The initial R stood for Richard, French slang for "moneybags" whereas Mutt referred to JL Mott Ironworks, the New York-based company, which manufactured the porcelain urinal. After the work had been rejected by the Society on the grounds that it was immoral, critics who championed it disputed this claim, arguing that an object was invested with new significance when selected by an artist for display. Testing the limits of what constitutes a work of art, Fountain staked new grounds. What started off as an elaborate prank designed to poke fun at American avant-garde art, proved to be one of most influential artworks of the 20th century.

L.H.O.O.Q (1919)

L.H.O.O.Q (1919)

Marcel Duchamp's scandalous L.H.O.O.Q is an altered postcard reproduction of Leonardo Da Vinci's Mona Lisa. For this "assisted" (which implied a degree of manipulation as opposed to the "unassisted") readymade, Duchamp penciled a moustache and a goatee over Mona Lisa's upper lip and chin, and re-titled the artwork. The title riffs on the French pronunciation of the letters, "Elle a chaud au cul," which roughly translates as "She has a hot ass." Rather than transmuting an ordinary, manufactured object into a work of art, as in the bulk of his readymades, in L.H.O.O.Q Duchamp starts with the representation of an iconic masterpiece that he takes down from its pedestal by playfully debunking it. In endowing the Mona Lisa with masculine attributes, he alludes to Leonardo's purported homosexuality and gestures at the androgynous nature of creativity. Duchamp is clearly concerned here with gender role-reversals, which later come to the fore in Man Ray's portraits of the artist dressed as his female alter ego, Rrose Selavy.

Fresh Widow (1920)

Fresh Widow (1920)

This miniature model of a traditional French window was made to Duchamp's specifications by a carpenter in New York. The title, inscribed at the base along with the words "COPYRIGHT ROSE SELAVY 1920," would have been an obvious pun in the aftermath of World War I, which turned many a lusty or "fresh" young spouse into a widow. (Incidentally, the work marks the debut of Duchamp's feminine alter ego, Rose Selavy.) As if to signal mourning, the eight windowpanes are covered in black polished leather, which fully blocks out the view, thus playing havoc with the notion of painting as a window onto the world.

Rotary Demisphere (Precision Optics) (1925)

Rotary Demisphere (Precision Optics) (1925)

Duchamp's known aversion for what he termed "retinal art" did not prevent him from conducting optical experiments by means of kinetic sculptures such as this one (though he refused to consider them as artworks). Based on an earlier model Duchamp and Man Ray had experimented with in 1920, Rotary Demisphere (Precision Optics) consists of a white papier-mache globe mounted on a velvet-lined disk that calls to mind the rings of Saturn. The globe is covered with black concentric circles arranged to form a spiral that appears to pulsate when spinning. Engraved on a copper ring around the globe's circumference, the inscription "RROSE SELAVY ET MOI ESQUIVONS LES ECCHYMOSES DES ESQUIMAUX AUX MOTS EXQUIS," ("Rrose Selavy and I dodge the Eskimos' bruises with exquisite words.") When pronounced in French, the phrase wittily conveys the hypnotic visual effect verbally through a complex of echoing sounds.

La Boite-en-Valise (Box in a Suitcase) (1935 - 1941)

La Boite-en-Valise (Box in a Suitcase) (1935 - 1941)

Like a traveling salesman's kit, this Boite-en-Valise (Box in a Suitcase) is one of twenty-four editions of a leather case that contains sixty-nine miniature reproductions of Duchamp's artworks. Each box offered different, hand-colored art pieces affixed to the lid's inside. Sections in the boxes slide out and unfold to show prints mounted on black board. This work exemplifies the lack of boundary between original and reproduction that Duchamp developed with his readymades. The box also functions as a portable museum: Duchamp made it for his move to New York in 1942, and included selections of his work made up to that date. La Boite-en-Valise calls to mind André Malraux's "museum without walls," not least in its use of photographic reproductions.

Etant donnes (1946-66)

Etant donnes (1946-66)

Installed behind a heavy wooden door that was found in Spain and shipped to New York, Etant donnes consists of a diorama viewed through two eyeholes. The scene depicts a nude woman, possibly dead, with her legs splayed, holding an illuminated gas lamp. A mountainous landscape, based on a photo Duchamp shot in Switzerland, creates the background setting. Built in secret over a period of more than twenty years, Etant donnes is considered Duchamp's second major work. He made an entire manual for its installation, which is reproduced in facsimile and available in print. At first glance, Etant donnes is a direct reference to Courbet's painting, Origine du Monde (1866). Yet upon closer consideration, the piece can be viewed as a reflection on the boundaries between artist and spectator, as a means to question self-consciousness, or as a meditation on spiritual purpose through the symbolism of a lit lamp.

Priere de Toucher (Please Touch) (1947)

Priere de Toucher (Please Touch) (1947)

Priere de Toucher (Please Touch) was designed by Duchamp to accompany the seminal 1947 International Surrealist exhibition he co-curated with André Breton. For the limited edition of the exhibition catalogue, Duchamp and the Surrealist artist Enrico Donati hand-colored 999 foam rubber "falsies," or false breasts, to glue onto black velvet which adhered to the removable book covers. This catalogue, the exhibition it was based on, and a future exhibition on which Duchamp and Breton collaborated yet again, "Exposition Internationale du Surrealisme (1959-60)," mark Duchamp's thematic overlap with the Surrealists, namely an obsession with eroticism.

Related Artists and Major Works

Les Demoiselles d'Avignon (1907)

Les Demoiselles d'Avignon (1907)

Artist: Pablo Picasso (Read Full Artist Overview, Biography, and Artworks pages)

This painting was shocking even to Picasso's closest artist friends both for its content and its execution. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Picasso's studies of Iberian and tribal art is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. Picasso also went further with his spatial experiments by abandoning the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards, something Picasso borrowed in part from Paul Cézanne's brushwork. For instance, the leg of the woman on the left is painted as if seen from several points of view simultaneously; it is difficult to distinguish the leg from the negative space around it making it appear as if the two are both in the foreground.

The painting was widely thought to be immoral when it was finally exhibited in public in 1916. Braque is one of the few artists who studied it intently in 1907, leading directly to his Cubist collaborations with Picasso. Because Les Demoiselles predicted some of the characteristics of Cubism, the work is considered proto or pre Cubism.

Très rare tableau sur la terre (Very Rare Picture on the Earth) (1915)

Artist: Francis Picabia (Read Full Artist Overview, Biography, and Artworks pages)

After World War I broke out, Picabia became fascinated with the idea of industrial objects as a pictorial source. He once wrote that "the machine has become more than a mere adjunct of life. It is really a part of human life...perhaps the very soul...I have enlisted the machinery of the modern world, and introduced it into my studio." His goal, he said, was to invent a "mechanical symbolism," and this piece is one of his most important examples, since critics have read it as an image of a sexual act rendered in mechanical terms. Although, at first glance, it might be hard to read so, Picabia may well have been inspired by his friend Marcel Duchamp to bury sexual references in images of machines. This work is also significant in that it is Picabia's first known collage (hence, as the title suggests, "very rare") since it contains two mounted wooden forms, and the frame is integral to the piece.

It stands to remember that Picabia loved machines, an in particular cars. He is said to have had a collection of over 100 automobiles. So here he is depicting the insides of his passion. Although he may be making fun of mankind, he may also, in true modernist fashion, be connecting technology and progress to human lives.


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