LaurieAnnie's photos with the keyword: Duchamp

Marcel Duchamp (Blanville, France 1887–1968 Neuilly- sur-Seine, France) Why Not Sneeze, Rrose Sélavy?, 1921/1964 Wood, metal, marble, cuttlefish bone, thermometer, and glass Tate, Purchased 1999 Duchamp, who participated in Surrealism as a curator and organizer, also showed in Surrealist exhibitions; a version of this work was displayed at the 1936 Exposition surréaliste d’objets (Surrealist Exhibition of Objects) at the Galerie Ratton in Paris. Text from the Metropolitan Museum of Art label.

Marcel Duchamp (Blanville, France 1887–1968 Neuilly- sur-Seine, France) Why Not Sneeze, Rrose Sélavy?, 1921/1964 Wood, metal, marble, cuttlefish bone, thermometer, and glass Tate, Purchased 1999 Duchamp, who participated in Surrealism as a curator and organizer, also showed in Surrealist exhibitions; a version of this work was displayed at the 1936 Exposition surréaliste d’objets (Surrealist Exhibition of Objects) at the Galerie Ratton in Paris. Text from the Metropolitan Museum of Art label.

Bottlerack Marcel Duchamp, American (born France), 1887 - 1968 Date: 1961 (replica of 1914 original) Medium: Galvanized iron Dimensions: 19 5/8 x 16 1/8 inches (49.8 x 41 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1998-4-23 Credit Line: Gift of Jacqueline, Paul, and Peter Matisse in memory of their mother, Alexina Duchamp, 1998 Text from: www.philamuseum.org/collections/permanent/92377.html?mulR=1459777721|215

Fountain Marcel Duchamp, American (born France), 1887 - 1968 Date: 1950 (replica of 1917 original) Medium: Porcelain urinal Dimensions: 12 x 15 x 18 inches (30.5 x 38.1 x 45.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1998-74-1 Credit Line: 125th Anniversary Acquisition. Gift (by exchange) of Mrs. Herbert Cameron Morris, 1998 Label: Fountain is among the most infamous artworks of the twentieth century. Yet, the original was lost shortly after it was submitted to the Society of Independent Artists’ first exhibition in April 1917 and rejected by the hanging committee. The work became known later as an icon of New York Dada primarily through replicas, which Duchamp created first in miniature for his Box in a Valise (1935–41, Philadelphia Museum of Art, 1950-134-934). Then in 1950, for the exhibition Challenge and Defy at the Sidney Janis Gallery, he authorized Janis to purchase this urinal secondhand in Paris and added his original inscription. This was the version of Fountain seen by Cage, Rauschenberg, and many others in exhibitions throughout the 1950s and 1960s. Text from: www.philamuseum.org/collections/permanent/92488.html?mulR=930954174|218

Fountain Marcel Duchamp, American (born France), 1887 - 1968 Date: 1950 (replica of 1917 original) Medium: Porcelain urinal Dimensions: 12 x 15 x 18 inches (30.5 x 38.1 x 45.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1998-74-1 Credit Line: 125th Anniversary Acquisition. Gift (by exchange) of Mrs. Herbert Cameron Morris, 1998 Label: Fountain is among the most infamous artworks of the twentieth century. Yet, the original was lost shortly after it was submitted to the Society of Independent Artists’ first exhibition in April 1917 and rejected by the hanging committee. The work became known later as an icon of New York Dada primarily through replicas, which Duchamp created first in miniature for his Box in a Valise (1935–41, Philadelphia Museum of Art, 1950-134-934). Then in 1950, for the exhibition Challenge and Defy at the Sidney Janis Gallery, he authorized Janis to purchase this urinal secondhand in Paris and added his original inscription. This was the version of Fountain seen by Cage, Rauschenberg, and many others in exhibitions throughout the 1950s and 1960s. Text from: www.philamuseum.org/collections/permanent/92488.html?mulR=930954174|218

Yvonne and Magdeleine Torn in Tatters Marcel Duchamp, American (born France), 1887 - 1968 Geography: Made in France, Europe Date: 1911 Medium: Oil on canvas Dimensions: 23 3/4 x 28 7/8 inches (60.3 x 73.3 cm) Framed: 25 5/8 x 30 3/4 x 2 1/8 inches (65.1 x 78.1 x 5.4 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1950-134-53 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: Duchamp created this composition from the floating forms of his younger sisters' profiles, paying close attention to their distinctive Roman noses and their long curly hair, which he rendered like cascading bunches of grapes. The disjunctions in scale between the four profiles, two for each sister, as well as the careful distribution of their forms over the entire canvas recall the torn or cut up pieces of paper that Pablo Picasso and Georges Braque used in their Cubist collages, as Duchamp humorously alludes to in the title, which suggests that his sisters have been similarly "torn in tatters." Text from: www.philamuseum.org/collections/permanent/51439.html?mulR=1562352411|186

Bicycle Wheel Marcel Duchamp, American (born France), 1887 - 1968 Date: 1964 (replica of 1913 original) Medium: Wheel, painted wood Dimensions: Diameter: 25 1/2inches (64.8cm) Base height: 23 1/2 inches (59.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1964-175-1 Credit Line: Gift of the Galleria Schwarz d'Arte, Milan, 1964 Text from: www.philamuseum.org/collections/permanent/59928.html?mulR=1954276234|3

Apolinère Enameled Marcel Duchamp, American (born France), 1887 - 1968 Date: 1916-17 Medium: Gouache and graphite on painted tin, mounted on cardboard Dimensions: 9 5/8 x 13 3/8 inches (24.4 x 34 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1950-134-73 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: Duchamp added pencil, paint, and cardboard to a painted tin advertisement for Sapolin enamel, an industrial paint, to create this “assisted” readymade. The sign’s manipulated lettering, a pun on the name of his friend Guillaume Apollinaire, the French writer and art critic, wryly calls attention to the readymade’s implicit critique of traditional painting. Additional information: Publication- Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art The commonplace objects that Duchamp chose as "Readymade" works of art epitomized the artist's belief that art should go beyond the visual and appeal to the mind as well as the senses. Duchamp began signing and giving titles to mass-produced items after he moved to New York in 1915, beginning with a snow shovel purchased in a hardware store. With Hidden Noise marks the transition from Duchamp's signed objects to more elaborate works, which Duchamp called "assisted Readymades." Another assisted Readymade, Apolinère Enameled, was a humorous homage to his friend the poet Guillaume Apollinaire. The tin sign, which Duchamp probably obtained from a paint store, was an advertisement for Sapolin enamel, a brand of industrial paint commonly used on radiators. The artist carefully manipulated the lettering in the commercially printed plaque, obscuring the S in Sapolin and adding new letters in white paint to evoke the poet's name, albeit intentionally misspelled. Duchamp also delicately shaded in pencil the reflection of the little girl's hair in the mirror. Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (2000), p. 48. Text from: www.philamuseum.org/collections/permanent/51563.html?mulR=1074785298|1

Portrait (Dulcinea) Marcel Duchamp, American (born France), 1887 - 1968 Geography: Made in France, Europe Date: 1911 Medium: Oil on canvas Dimensions: 57 5/8 x 44 7/8 inches (146.4 x 114 cm) Framed: 60 1/2 x 47 7/8 x 2 3/8 inches (153.7 x 121.6 x 6 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1950-134-54 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: This work is an erotic examination of time and movement, a portrait of a mysterious woman that Duchamp noticed on the street and imagined in various states of undress. Studying Étienne-Jules Marey’s (French, 1830 - 1904) and Eadweard Muybridge’s (American (born England), 1830 - 1904) experiments in chronophotography and beginning to develop a formal language for depicting motion in painting, Duchamp portrayed his invented character of Dulcinea here in five successive positions—each bearing less clothing, as if stripped over time. Presenting a series of static images to resemble the frames of a motion picture, Duchamp invites the viewer to animate them mentally into a fluid movement. The resulting motion portrait prefigures both his Nude Descending a Staircase, No. 2 (Philadelphia Museum of Art, 1950-134-59), painted in January 1912, and the Bride at the center of The Large Glass (Philadelphia Museum of Art, 1952-98-1). Text from: www.philamuseum.org/collections/permanent/51445.html?mulR=24080232|2

Portrait (Dulcinea) Marcel Duchamp, American (born France), 1887 - 1968 Geography: Made in France, Europe Date: 1911 Medium: Oil on canvas Dimensions: 57 5/8 x 44 7/8 inches (146.4 x 114 cm) Framed: 60 1/2 x 47 7/8 x 2 3/8 inches (153.7 x 121.6 x 6 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1950-134-54 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: This work is an erotic examination of time and movement, a portrait of a mysterious woman that Duchamp noticed on the street and imagined in various states of undress. Studying Étienne-Jules Marey’s (French, 1830 - 1904) and Eadweard Muybridge’s (American (born England), 1830 - 1904) experiments in chronophotography and beginning to develop a formal language for depicting motion in painting, Duchamp portrayed his invented character of Dulcinea here in five successive positions—each bearing less clothing, as if stripped over time. Presenting a series of static images to resemble the frames of a motion picture, Duchamp invites the viewer to animate them mentally into a fluid movement. The resulting motion portrait prefigures both his Nude Descending a Staircase, No. 2 (Philadelphia Museum of Art, 1950-134-59), painted in January 1912, and the Bride at the center of The Large Glass (Philadelphia Museum of Art, 1952-98-1). Text from: www.philamuseum.org/collections/permanent/51445.html?mulR=24080232|2

Portrait of the Artist's Father Marcel Duchamp, American (born France), 1887 - 1968 Geography: Made in France, Europe Date: 1910 Medium: Oil on canvas Dimensions: 36 3/8 x 28 7/8 inches (92.4 x 73.3 cm) Framed: 38 7/16 × 31 × 2 1/2 inches (97.6 × 78.7 × 6.4 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1950-134-49 Credit Line: The Louise and Walter Arensberg Collection, 1950 Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art In this portrait of his father, Duchamp presents a penetrating psychological study of a shrewd yet thoughtful man. This is one of many portraits the artist painted in Rouen, France, in 1910, at the age of twenty-three, and it demonstrates his intense interest in Paul Cézanne, who died in 1907 and whom he called "the father of us all."1 Duchamp described the portrait as "a typical illustration of my cult for Cézanne mixed up with filial love."2 Cézanne's influence is clearly evident in the balanced structure, muted tones, and planar construction of the painting, one of Duchamp's strongest early works. Eugène Duchamp, a notary, was a benevolent and generous supporter of Marcel and his five siblings, three of whom were artists. Duchamp credited his father with allowing him to pursue his interest in art, stating that with his father's financial help, he was able to explore his fascination with Cézanne, whom he credited with opening up new possibilities for his own artistic development. Emily Hage, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 156. Notes: 1) Calvin Tomkins, Duchamp: A Biography (New York: Henry Holt, 1996), p. 42. 2) See Anne d'Harnoncourt and Kynaston McShine, eds., from Marcel Duchamp (New York: The Museum of Modern Art, 1973), p. 243. Provenance: Jean Crotti (brother-in-law of Marcel Duchamp), Neuilly; sold to Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1936 [1]; gift to PMA, 1950. 1. See provenance notes by Duchamp dated September 8, 1951 (PMA, Arensberg Archives). Text from: www.philamuseum.org/collections/permanent/51405.html?mulR=1011340269|3